The Dawn Chronicles
by h1gher
Summary: Dawn moves to Chicago with Kennedy and Willow.
1. Pilot

DAWN: The Series  
>1x01 "First Light" (Pilot)<p>

Based on characters created by Joss Whedon

TEASER

EXT. BACK ROAD - DAWN

We open on a faded, battered sign. It reads: WESTMONT CITY LIMITS. We PAN RIGHT to a narrow road, surrounded by vast amounts of forestation. The warm, amber color of the leaves tells us we're well into the fall. The sun is rising in the distance.  
>An early model, dark blue Minivan comes barreling down the road at impractical speed.<p>

WILLOW  
>(OS)<br>Should we be going this fast?

INT. MINIVAN - DAWN

Kennedy is driving the van, an almost Zen-like concentration on her face. Willow sits next to her, rigidly bracing herself for any sudden impact.

KENNEDY  
>Probably not, but it's really fun.<p>

WILLOW  
>Right, 'cause concussions are always a blast. Please slow down?<p>

Kennedy finally snaps out of her tunnel vision. She smiles at Willow as her foot relieves some pressure off the accelerator. Willow relaxes in her seat.

KENNEDY  
>I'm sorry, I just go mad with power when I'm behind the wheel of this thing. It's a tank.<p>

WILLOW  
>Sweetie, it's a Minivan. I feel like a total Soccer Mom, and I'm not even driving.<p>

KENNEDY  
>Maybe we should've gotten an SUV.<p>

WILLOW  
>Why stop there, why not just get a Hummer and be done with it?<p>

KENNEDY  
>(half-kidding)<br>You're turning me on.

Willow smiles.

WILLOW  
>How much further?<p>

KENNEDY  
>Well, we just left Westmont. We should make it into town within the hour. We can have breakfast.<p>

WILLOW  
>Remind me to call Buffy before we eat.<p>

KENNEDY  
>Are you nervous?<p>

WILLOW  
>About what?<p>

KENNEDY  
>All of it. The new home, new town, new responsibilities. I would be.<p>

WILLOW  
>After all the traveling we've been doing, I welcome the routine of daily life. No magics, no monsters. If my biggest decision of the day is which fabric softener to use, I'll be happy. Besides, it's not like I'm completely alone here.<p>

KENNEDY  
>What about your friends?<p>

WILLOW  
>Giles always makes sure we keep in touch. Buffy may be on the other side of the world right now, but she's always just a phone call away.<p>

KENNEDY  
>Isn't it like midnight over there by now?<p>

WILLOW  
>It's Buffy. She'll be awake.<p>

Kennedy makes a motion towards the back seat.

KENNEDY  
>I guess it doesn't run in the family.<p>

ANGLE ON: BACK OF VAN.

In the back of the Minivan, sleeping on the floor, we see Dawn. She's mostly hidden by a sleeping bag. Poking out next to her is Mr. Gordo, the stuffed pig.

EXT. BACK ROAD - DAWN

The Minivan continues down the road, away from the camera. Way ahead in the distance, we see the city skyline of Chicago, Illinois.

BLACK OUT.

Cue Opening Credits & Music: "Tomorrow" by SR-71

ACT ONE

EXT. PARKING LOT - MORNING

The Minivan pulls into the parking lot of a small, greasy spoon-type diner. The lot is virtually empty, save for one other car. An old, maroon Volkswagen bug is parked at the far end, near the back of the building.  
>We PAN UP, look through the windshield and see Willow and Kennedy. Dawn, now awake pops up between them.<p>

WILLOW  
>Maybe we shouldn't eat here. Is it even open?<p>

KENNEDY  
>The sign says it is.<p>

Dawn squints her eyes, trying to read something.

DAWN  
>"Logan's Diner". Maybe they don't allow anyone in over 30.<p>

Kennedy gives Dawn a funny look.

DAWN (CONT'D)  
>(Embarrassed)<br>Which doesn't apply to us, anyhow.

WILLOW  
>I'm starving. It doesn't have the words "Double" or "Meat" in the title, so I say we check it out.<p>

INT. LOGAN'S DINER - MORNING

The girls enter the Diner. The place has a very classic, 50's look. The counter top is made of white marble and there's a vintage jukebox in the corner, but it's been modified to play compact discs, instead of records.  
>At the moment, there doesn't appear to be anyone behind the bar.<p>

KENNEDY  
>Empty. That's never good.<p>

She approaches the bar.

KENNEDY (CONT'D)  
>(loudly)<br>Hello?

Just then, a waitress emerges from the back room. She has short, red hair and green, cat-like eyes. She kind of looks like Natalie Portman in the film Closer. This is CATHRYN "CAT" KELLER, 21.

CAT  
>(surprised)<br>Wow. Customers. So, they do still exist.

A beat.

CAT (CONT'D)  
>You are customers, right?<p>

KENNEDY  
>(uncertain)<br>Yes?

CAT  
>Thank God. My name's Cathryn, or Cat, if you like.<p>

Cat pulls out a pad and pencil from her apron.

CAT (CONT'D)  
>What can I get you?<p>

Willow steps forward.

WILLOW  
>Pay phone?<p>

CAT  
>(pointing)<br>Between the rest rooms.

WILLOW  
>Thanks.<p>

Willow makes her way over to the phone. Dawn scans through a menu laying on the counter.

DAWN  
>(excited)<br>Waffles!

CAT  
>(playing along)<br>Topping?

DAWN  
>Apple!<p>

CAT  
>Drink?<p>

DAWN  
>Orange Juice!<p>

CAT  
>Can do.<br>(to Kennedy)  
>And for you?<p>

KENNEDY  
>Quick question. Do you have cheesecake?<p>

CAT  
>Strawberry, cherry, or plain?<p>

KENNEDY  
>(smiling, looking towards Willow)<br>Strawberry. And water.

CAT  
>(writing)<br>One water.

KENNEDY  
>My friend will have an omelette, hotcakes and tea, if you've got it.<p>

CAT  
>(looks up)<br>Are you sure?

Kennedy looks over at Willow, affectionately.

KENNEDY  
>I'm sure.<p>

CAT  
>OK. Back in a pinch.<p>

As Cat heads back into the kitchen, Kennedy and Dawn sit down in one of the booths.

DAWN  
>So far, so good.<p>

KENNEDY  
>I prefer to hold my judgement until after we get our food. Ever since the Grill &amp; Bar incident back in Shermer, I trust no one.<p>

DAWN  
>It wasn't that bad.<p>

KENNEDY  
>I'm telling you, my Porterhouse mooed at me.<p>

Willow arrives and sits down next to Kennedy.

DAWN  
>(to Willow)<br>Was Buffy home?

WILLOW  
>No, but I did talk to Andrew for a bit. He said that Buffy's been doing a lot more soul searching now that she's not dating The Immortal.<p>

DAWN  
>That's Buffy for you. The suckier the guy, the harder she tries to find herself.<p>

WILLOW  
>I just hope the next relationship she has, it's with someone who won't try to harvest her organs for his own personal demon horde. You know, a nice, normal guy.<p>

DAWN  
>Speaking of, have you talked to Xander?<p>

Willow shakes her head.

WILLOW  
>I haven't checked my e-mail in at least a week. Last I heard, he mentioned something about looking Faith up in Hawaii. He's hoping the eye patch will go over better in a more tropical setting.<p>

KENNEDY  
>What about Mr. Giles?<p>

WILLOW  
>Andrew said he's making lots of progress in his therapy sessions with that Dana girl. Once we get settled in here, I'll have more details.<p>

Cat brings out their drinks and sets them down.

CAT  
>There you go. Your food will be ready shortly.<p>

WILLOW  
>Thank You.<p>

CAT  
>You bet.<p>

She heads back to the kitchen again.

WILLOW  
>We got in town earlier than I expected.<p>

KENNEDY  
>Don't worry. My Uncle Barret sleeps like a coma patient, but he said he wants us to come by first thing.<p>

DAWN  
>I still can't believe he's letting two total strangers into his house like that.<p>

KENNEDY  
>He's always been like that. Out of my family, he was the first one I came out to, and he also happened to be the most supportive. Besides, he's a strong believer in the "friends of mine, friends of his" credo.<p>

DAWN  
>I hope everyone here is just as friendly. It'll be nice to live in a town without demons, vampires and all encompassing evil.<p>

KENNEDY  
>Yeah, and have friends who don't try to kill you.<p>

Willow raises her drink in traditional, toasting fashion.

WILLOW  
>(smiling)<br>Ladies. To Normal!

Dawn and Kennedy follow suit and bring up their drinks as well.

KENNEDY & DAWN  
>To Normal!<p>

Just as all their glasses CLINK together, we

CUT TO:

INT. CITY MORGUE - CONTINUOUS

EXTREME CLOSE UP ON: HEADPHONES

We hear the heavy, bass strumming sounds of Korn. We PULL BACK to reveal the headphones are worn by QUINN MARTIN, a young man of 26. Short, brown brush cut hair. His face has a youthful, open quality to it. His eyes are closed.

OVERHEAD ANGLE ON: QUINN

Leaning back in a chair, his feet propped up on a desk. From this view, we see that he is wearing a white, lab coat. This is juxtaposed by the rest of his casual attire, which owes more to the fashion sense of a skater. A Blink 182 shirt hangs loosely on his thin frame, joined by some wide-leg jeans and a pair of scuffed up Skechers.  
>We can also see that he is in a Morgue. Containment units for storing dead bodies checker board the walls. An autopsy table stands like a morbid centerpiece to this room.<p>

ANGLE ON: DOUBLE DOORS

Opening up as a gurney is wheeled in by a tall, BLACK GUY. He's dressed in a more official manner. A body bag rests on top of the gurney.

BLACK GUY  
>(tired)<br>Order up!

Quinn drops his feet to the floor and removes his headphones. The music blasts from the tiny speakers a bit too loudly. Quinn's eyes are an icy blue, giving him a sad, haunted look that betrays his otherwise nonthreatening features.

QUINN  
>(deadpan)<br>Oh joy, another one. There must be a Living Impaired support group in town or something.

BLACK GUY  
>Looks like.<br>(re: the music)  
>Are you trying to deafen the both of us, or just yourself?<p>

QUINN  
>Oh, sorry.<p>

Quinn turns off his MP3 Player, gets up and moves over to the gurney. He unzips the body bag.

ANGLE ON: DEAD BODY

A TEEN BOY, maybe seventeen. Bleached hair and bags under his eyes. It's obvious this one was a night owl.

QUINN (CONT'D)  
>Just like the others?<p>

BLACK GUY  
>So far, only this one came from a Frat party. Been dead upstairs at least five hours, before anybody noticed. Campus security called it in.<p>

QUINN  
>Let me guess. Drug overdose?<p>

BLACK GUY  
>What else?<p>

QUINN  
>Right. Will he be missed?<p>

BLACK GUY  
>Doubtful. His Fraternity brothers said he was a new pledge. They threw a New Members party, one thing lead to another, the usual.<p>

QUINN  
>Do we sweep it under the rug like normal?<p>

BLACK GUY  
>That's the plan.<p>

QUINN  
>Okay, thanks. Are you heading home after this?<p>

BLACK GUY  
>Yeah, I'm thinking about taking some vacation time. Get some distance from it, know what I mean?<p>

QUINN  
>I do. In fact, it's the best plan of action I've heard all week.<p>

BLACK GUY  
>If you want, I can swing by Bob's office before I go. Put in a good word?<p>

QUINN  
>No, thanks. You should go ahead and take off before he changes his mind.<p>

BLACK GUY  
>I see your point. Alright, man. Have a good one.<p>

The Black Guy turns and exits.

QUINN  
>I'll try.<p>

Quinn stands there for a moment, staring down at the body. He lets out an aggravated sigh.

QUINN (CONT'D)  
>(to the corpse)<br>Sucks to be you, doesn't it?

DISSOLVE TO:

INT. CITY MORGUE - LATER

Quinn is back at his desk. He's filling out some paperwork on a clipboard. The headphones are back on, this time playing some softer, down-tempo Massive Attack.

WIDE ON: CORPSE

The dead body has been moved to the examination table and is now covered by a pale blue sheet. We stay WIDE on the body in the foreground, with Quinn, hard at work in the background.  
>Slowly, we see some subtle movement under the sheet.<p>

LOW ANGLE ON: FLOOR

From under the table, we see the dead kid's bare feet come into view and quietly touch the ground.

CLOSE UP ON: QUINN'S FACE  
>He seems oblivious to everything around him. The music pulses on while in the background, the apparently undead figure approaches from behind.<p>

EXTREME CLOSE UP ON: PENCIL

Quinn continues to write when suddenly, he presses down too hard, causing the lead in the pencil to snap off.

MEDIUM ANGLE ON: QUINN & THE BODY

As the body steps into frame, his face bumpy in now famous Vamp Mode. Quinn, at the other end of this closing space, spins around in his chair to face the creature. In a telling, routine movement, he stands up and plunges the broken pencil straight into the kid's chest.  
>The Vampire quickly bursts into a cloud of dust. Quinn stays in his attacking stance for a moment before straightening himself and examining the pencil.<p>

QUINN  
>(to himself)<br>Damn.

A beat.

QUINN (CONT'D)  
>I lose more pencils that way.<p>

Quinn tosses the small weapon onto his desk and exits through the double doors. We stay STATIC on the doors for a few beats. Then, Quinn reenters, carrying a small, red Dust Buster. He turns the device on and we TILT DOWN to the floor with him as he vacuums up the powdered remains.  
>Once that's done, Quinn removes the vacuum bag. He picks up the clipboard from his desk and carries all three items out the door.<br>We STEADICAM behind him as he goes through the double doors, down a long, narrow hallway and down a flight of stairs. He stops at a door marked "Storage". Beside the door is a keypad and a small, red light.  
>Quinn nonchalantly punches in a series of numbers. The Keypad BEEPS and the light turns green. He opens the door and heads inside.<p>

INT. STORAGE ROOM - CONTINUOUS

We are now in a small room, very much like a Janitor's Closet. This room doesn't look like anything special. There are brooms, mops, dust pans, cleaning products and an entire wall of Dust Busters. There's one empty space.  
>We watch Quinn retrieve a fresh bag from a drawer and replace it into the vacuum. He hangs the device back up onto the empty space on the wall. He removes the paper from the clipboard and wraps it around the bag full of Vampire Dust.<p>

We TILT DOWN and notice Quinn standing on a large rug in the center of the room. He steps aside, squats down and folds the rug over to reveal a trap door, hidden in the floor. He then produces a key from his pocket and inserts it into a small padlock. After turning the key, the lock snaps open and Quinn lifts up the hatch, revealing another set of stairs.

INT. STORAGE ROOM "B" - CONTINUOUS

Quinn comes downstairs into what appears to be an even smaller room. He approaches a wall of safety deposit boxes. Using the same key, he opens one that isn't labeled. He places the vacuum bag and the information into the box, closes it and then locks it back up.  
>Quinn uses a pen to label the box as "1709". Once finished, he hurries back upstairs. Instead of following, we stay on the box and its curious set of numbers.<br>We then CRANE LEFT & UP to reveal that this room is in fact of massive size. As far as the eye can see, it consists of nothing but safety deposit boxes. Rows and rows of boxes.

BLACK OUT.

ACT TWO

EXT. BARRET'S HOUSE - LATER

The Minivan pulls up to a large, two-story house. This place is tucked away a bit, surrounded by heavy forestation. The look and feel of the house is warm and rustic like a cabin, but the design is definitely modern, not to mention expensive.  
>There are numerous expansions and add-ons. There's a wooden patio deck up on the second floor and a car port off to the side, which is currently sheltering a Yamaha Scooter and a Mini Cooper that looks so new, you'd think it was built no more than five minutes ago.<p>

DAWN  
>(OS)<br>Your Uncle has a Mini Cooper?

KENNEDY  
>(OS)<br>Apparently. Must be new.

WILLOW  
>(OS)<br>And he does what, exactly?

KENNEDY  
>(OS)<br>Pizza Delivery.

INT. BARRET'S HOUSE - CONTINUOUS

The inside of this house is just as lavish and impressive. Leather furniture, hardwood floors, even a stone fireplace. Mounted proudly on the wall above it is an Elk's head.  
>Dawn, Willow &amp; Kennedy enter, bringing some luggage with them.<p>

KENNEDY  
>(loudly)<br>Uncle Barret? We're here!

WILLOW  
>(excited)<br>Oh, a fireplace! We can roast marshmallows!

KENNEDY  
>I think we should unpack, first.<p>

DAWN  
>(re: elk's head)<br>Cool, a Deer's head.

BARRET  
>(OS)<br>Elk, actually.

The three girls turn, startled. We WHIP PAN to reveal UNCLE BARRET, 39. He's leaning up against the door frame that leads into the kitchen. His overly casual look and attire completely clash with his impeccable surroundings. Messy hair, bathrobe and bunny slippers. He resembles a cross between Donal Logue and Johnny Depp from Secret Window. In short, he looks as though he snuck in.

KENNEDY  
>Barret!<p>

The two of them hug.

BARRET  
>Did you have any trouble finding the place?<p>

KENNEDY  
>Not at all.<br>(addressing the others)  
>This is my Uncle Barret. That's Dawn.<br>Barret shakes her hand.

BARRET  
>Dawn.<br>(looking at Willow)  
>I guess that makes you Willow.<p>

WILLOW  
>(nervous)<br>Hi.

They shake hands. Barret can tell Willow is a bit uneasy.

BARRET  
>Don't worry, I didn't kill it myself. It came with the house. As I understand it, the previous owner accidently hit it.<p>

DAWN  
>With what? A bulldozer?<p>

BARRET  
>Yes.<p>

All three girls look at him in disbelief.

BARRET (CONT'D)  
>Or, so I'm told. Listen, I'm real glad you all came out here. Kennedy's told me so much about you, I feel like I already know you. Do you guys like the place so far?<p>

DAWN  
>Are you kidding? It's amazing. I don't mean to pry- Well, actually I do, but how can you afford this place? Did you like, win the lottery or something?<p>

BARRET  
>Pretty much.<p>

Dawn and Willow are speechless. Kennedy smiles.

BARRET (CONT'D)  
>(to Kennedy)<br>You didn't tell them?

KENNEDY  
>Nope. I thought it would be more fun this way.<p>

DAWN  
>No way!<p>

BARRET  
>You wanna see? Come on, I'll show you.<p>

INT. KITCHEN - CONTINUOUS

The kitchen is a gourmet chef's wet dream come true. Checkered linoleum, stainless steel appliances, and there's even an actual booth and table in the corner, the kind you would normally see in a chain restaurant.  
>The gang enters. Barret hops up and takes a seat on the counter. Next to him is a glass bowl of fresh apples. He takes one, polishes it and takes a bite. With his free hand, he points off screen, to his right.<br>Hanging on the wall, above the booth, is a large, framed Novelty Check.

WILLOW  
>Fifty Six Million?<p>

Barret smiles, sheepishly.

BARRET  
>You should know there's a solid reason why I moved out here. When people found out about my good fortune, suddenly I had "friends and family" that never existed before then. Everybody wanted a piece, more than their fair share, in fact. Believe me, I'm all with the giving, but only to those who truly deserve it, like you guys.<p>

DAWN  
>But you don't even know us.<p>

BARRET  
>I know Kennedy. She's my family. Regrettably, she's the only member of said family that didn't automatically become entitled, like something was owed. One of three reasons why my brother and I aren't on speaking terms.<p>

DAWN  
>What are the other reasons?<p>

WILLOW  
>Dawnie!<p>

BARRET  
>No, it's okay. I'm not quite ready to share that much, so I'll save it, if that's cool. For now, I just want you guys to know that since Kennedy here is my family, that means you two are family by association. I gotta rebuild. Now that Sunnydale is a pile of sinky-sand, I'm sure you can relate.<p>

DAWN  
>Yeah, I totally get it. My sister wants me to go to the University here. She says I should go where I can actually learn something, instead of how to say "Where's the party?" In Italian. I don't even know if I'm college material.<p>

BARRET  
>Well, Kennedy tells me her girl Willow here is quite the brain.<p>

Willow blushes.

BARRET (CONT'D)  
>Besides, I did the college thing for a while. Half of it is based on notes and lecture. Keep that in mind and it's a cakewalk.<p>

DAWN  
>What's the other half?<p>

BARRET  
>Parties, often with actual cake.<p>

A beat. Barret hops down off the counter.

BARRET (CONT'D)  
>So, how about we get the rest of your bags and then I can finish showing you around?<p>

DAWN  
>You mean there's more?<p>

Barret begins to lead the girls out of the kitchen.

BARRET  
>Much more. You haven't seen the game room, yet. Say, Dawn? How good are you at air hockey?<p>

CUT TO:

INT. UPSTAIRS BEDROOM - EVENING

ANGLE ON: PEZ WITCH

Standing upright like a trophy on a dresser. On either side of it, we see two framed photos. One is of Oz. The other is of Tara. In the center, just in front of the pez dispenser is a short, wide candle. The flame burns, bright.  
>We PULL BACK to reveal Willow sitting on the bed, meditating. The room is sparse, but somehow still feels very inviting and lived in. A few boxes are stacked in the corner. Kennedy enters.<p>

KENNEDY  
>Hey.<p>

Willow opens her eyes and smiles.

WILLOW  
>Hey.<p>

KENNEDY  
>Settling in okay?<p>

WILLOW  
>Better than okay. The energy here is really good. It almost feels like Sunnydale, without the suck.<p>

KENNEDY  
>It wasn't all bad. If it weren't for the impending doom and apocalypse, we never would've met.<p>

WILLOW  
>Most couples meet-cute at clubs or parties. We met-cute on a Hellmouth.<p>

Kennedy smiles and joins Willow on the bed.

WILLOW (CONT'D)  
>How's Dawn adapting?<p>

KENNEDY  
>Like a duck to water. I think she's still giddy from finding out her bedroom has its own shower. I'm waiting for the moment when Barret shows her the jacuzzi out back.<p>

WILLOW  
>Do you think we did the right thing by bringing her here, away from Buffy, I mean?<p>

KENNEDY  
>Let's not forget whose idea this was in the first place. I think Buffy's just glad Dawn's not out getting kidnapped by the sunlight impaired. And the best part is, no more mystical convergences. She finally has a chance at a normal life. That goes for all of us.<p>

WILLOW  
>I am glad we're here, together. It's almost like it was with-<p>

KENNEDY  
>With Tara?<p>

WILLOW  
>I'm sorry. I didn't mean-<p>

Kennedy gives Willow a reassuring kiss.

KENNEDY  
>Willow, it's okay. I like when you talk about her, and Oz. For better or worse, those people make up part of who you are, and I love who you are. I'm only sorry I didn't get to meet either of them. They sound like good people, infidelity excluded.<p>

DAWN  
>(OS)<br>AHHH!

Startled, Willow and Kennedy both turn their attention to the door.

DAWN (CONT'D)  
>(OS)<br>A jacuzzi!

Relieved, Willow and Kennedy share a smile.

CUT TO:

INT. KITCHEN - NIGHT

Dawn is at the counter, scooping ice cream into two frosted, glass mugs.

DAWN  
>This place is so amazing! It has everything.<p>

Barret comes in from outside of the frame. He sets down two glass bottles of root beer. They proceed to make floats.

BARRET  
>Correction. Now it has everything.<p>

DAWN  
>What else could you possibly need?<p>

BARRET  
>Friends. What good is being rich if you're not truly wealthy?<p>

DAWN  
>Don't you have friends, or did, before, I mean?<p>

BARRET  
>Well, the occasional acquaintance here and there, but not really. I mostly keep to myself. It's not especially by choice, mind you. It just kind of turned out that way. What about you?<p>

DAWN  
>I had some friends in high school, but they all took off right around the time Sunnydale took a swan dive underground.<p>

BARRET  
>Do you think you'd still be friends, if things were different?<p>

DAWN  
>I don't know. Maybe. Mostly people thought I was just really weird.<p>

BARRET  
>Weird? How come?<p>

DAWN  
>Beats me. Buffy always said I was just misunderstood, which coming from her means almost nothing.<p>

BARRET  
>Well, people are afraid of what they don't understand. Not many of us have a Slayer for a big sister.<p>

Dawn freezes.

DAWN  
>How do you know-<p>

BARRET  
>You can blame Kennedy and her sharing nature for that one. I was the first person she officially came out to. She tells me everything.<p>

DAWN  
>So, you know the real story behind Sunnydale and my family?<p>

BARRET  
>Pretty much. I've at least gotten the Cliff Notes version on more than one occasion.<p>

DAWN  
>And it doesn't freak you out?<p>

BARRET  
>Well, I will admit it is extraordinary. I know Kennedy was never one to just make up stories. Plus, given what she's told me, I'm perfectly content with taking her word for it. I'm just glad she came away from it in one piece.<p>

DAWN  
>Lucky for her, Willow likes to share, too.<p>

BARRET  
>Lucky for all of you, from what I've heard. That's a pretty powerful thing your friend did, turning all the potentials into slayers.<p>

DAWN  
>Yeah, but some of us weren't so lucky.<p>

BARRET  
>That's right, I heard a friend of yours lost an eye.<p>

DAWN  
>Well, he didn't lose it, so much as it literally got poked out. And don't even get me started on the high body count.<p>

BARRET  
>That bad, huh?<p>

DAWN  
>If I went through everyone, we'd be here all night.<br>(counting)  
>Jonathan, Tara, Anya, even my own sister once or twice.<p>

A beat.

DAWN (CONT'D)  
>(reserved)<br>My Mom.

BARRET  
>(warmth)<br>At the risk of sounding like a walking cliche, she's in a better place. If you want to honor the memory of your mother, the best thing you can do is just keep being Dawn. I'm a pretty good judge of character. I wouldn't have opened my home to you guys without recognizing the good nature you carry with you. In my opinion, that's a pretty high compliment to your Mom and your Sister.

Dawn smiles. Barret puts a straw in her float and slides the drink over to her.

BARRET (CONT'D)  
>Besides, somebody's gotta help me eat all this ice cream.<p>

CUT TO:

INT. UPSTAIRS BEDROOM - LATER

We see Dawn unpacking some things and getting ready for bed. The only available light source in this room is coming from a lamp on the night stand, by the bed. Willow pokes her head in the doorway.

WILLOW  
>Hey.<p>

DAWN  
>Hey.<p>

WILLOW  
>We've got a long day ahead of us tomorrow. You might wanna turn in early.<p>

DAWN  
>Way ahead of you,<br>(looking around)  
>But I can't seem to find-<p>

Willow reveals a framed photograph of Joyce she had been hiding behind her back. She hands it to Dawn.

WILLOW  
>It got mixed in with some of the kitchen stuff, which may not have been a complete accident.<p>

A beat.

WILLOW (CONT'D)  
>Good night, Dawnie.<p>

DAWN  
>Good night, Willow.<p>

Willow exits. Dawn sits there for a moment, staring at the photograph with warm affection. She sets it up on the night stand so it's facing her as she gets under the covers.

DAWN (CONT'D)  
>(to herself)<br>Good night, Mom.

With that, Dawn turns off the lamp and goes to sleep, leaving us with almost no light. We stay on this image of Dawn, eyes closed, safe and secure. Then, a moment later, a mild glow seems to fall on her face. A hand enters the frame, caressing Dawn's cheek. Dawn continues to sleep, undisturbed.  
>We PAN UP to reveal JOYCE SUMMERS (deceased), in all her ethereal, angelic beauty. She stands by the bed, watching over Dawn with that same warm affection.<p>

JOYCE  
>(to herself)<br>Good night, sweetheart.

BLACK OUT.

ACT THREE

EXT. UNIVERSITY OF NORTH ILLINOIS - DAY

ANGLE ON: CLOCK TOWER

The clock reads 1:13. We PAN DOWN to reveal Willow and Dawn, sitting on a bench. They appear to be finishing up some sort of fast food lunch. Dawn has an uncomfortable look on her face.

DAWN  
>(sickly)<br>Ugh. I think my food is a part of me now. It's never leaving.

WILLOW  
>I warned you about that Chili Dog.<p>

Willow starts to gather up their trash and toss it in a near by garbage bin.

DAWN  
>It looked so good in the picture. I was lied to. Stupid golden cow.<p>

WILLOW  
>Next time, I get to pick where we eat.<p>

DAWN  
>That's too bad, because I'm never eating again.<br>(Tetsuo impression)  
>"We are Chili Dog. We are one."<p>

WILLOW  
>Hey, at least Orientation is going well.<p>

DAWN  
>(smiling)<br>Yeah. Who knew there was a class for bowling?

WILLOW  
>This place is so massive. I'm sure if you can name it, there's probably a class for it.<p>

DAWN  
>What's left on the list?<p>

Willow scans a small booklet in her hand.

WILLOW  
>Uh, just the dorms.<p>

INT. FULTON HALL - DAY

Willow and Dawn make their way down one of the many narrow hallways of the Fulton Dormitory. The place is a zoo. Dozens of students shuffle about, most of them appearing lost. Two large guys are carrying an equally massive, steel keg. They're just about the only two people who seem to know exactly where they're going.

DAWN  
>So, this is my Dorm.<p>

Willow scans her booklet.

WILLOW  
>It says here that Fulton Hall is one of the oldest buildings on campus. It was constructed in the late forties, and was partially renovated in 1993, due to an electrical fire.<p>

DAWN  
>I guess there's a reason they don't make 'em like they use to.<p>

MALE VOICE  
>(OS)<br>Actually, that brochure is wrong.

Willow and Dawn turn to meet CHASE, 19. He's got a bit of a baby face and unassuming, blue eyes. He's kind of like Farmer Ted, save for the fact that he's wearing a giant bunny costume. A stack of flyers are in his hand.

CHASE  
>It was a pledge prank that started the fire. Of course, UNI's not gonna come right out and broadcast that kind of info.<p>

The two girls stare at him for a moment before Dawn finally leans over to whisper at Willow.

DAWN  
>(whispering)<br>Is that a-

WILLOW  
>(whispering)<br>Giant Bunny Rabbit. You see him, too?  
>(to Chase)<br>If your name is either Frank, or Harvey-

CHASE  
>It's neither.<p>

A beat.

CHASE (CONT'D)  
>I mean, my name is Chase.<p>

DAWN  
>Chase The Bunny. That's funny. I'm Dawn, and this is<br>Willow.

CHASE  
>Hi. I don't normally dress this way. I'm pledging.<p>

WILLOW  
>Oh, what fraternity?<p>

CHASE  
>Phi Omega Gamma.<br>(handing Dawn a flyer)  
>This is for you.<p>

Dawn scans the flyer.  
>DAWN<br>"Fish Tank Fiesta"?

CHASE  
>Yeah, it's a special party for freshmen. The Frat puts one together every year during orientation. Sort of a big welcoming committee for all the new faces.<p>

DAWN  
>So, what, you're supposed to go around campus in that bunny suit, passing out flyers?<p>

CHASE  
>(embarrassed)<br>Not exactly. I'm supposed to go around campus in this hot-as-hell, humiliating bunny suit, passing out flyers to pretty young women.

Dawn smiles at him. He blushes.

MALE VOICE  
>(OS)<br>PLEDGE FU-FU!

Chase suddenly goes rigid, standing at attention. A tall, handsome fellow approaches. He has a wholesome, Riley Finn quality about him, but the swagger and ****y stride of Spike. This is GLENN, 22.

CHASE  
>(soldier)<br>Yes, Brother Glenn!

GLENN  
>You pass out flyers to freshmen. You do not make moon eyes at them, is that understood?<p>

CHASE  
>Yes, Brother Glenn!<p>

Glenn turns his attention to Dawn and Willow. His voice and demeanor take a complete turn. He is now charming and polite.

GLENN  
>I'm awfully sorry about that. Was Pledge Fu-Fu bothering you?<p>

DAWN  
>Uh, I think his name is Chase.<p>

Glenn gives Chase a stern look.

GLENN  
>For the rest of his life, it is. This week however, his full name is Little Bunny Fu-Fu.<br>(to Chase)  
>What's the matter, Pledge? Did you forget that bunnies can't talk?<p>

Chase says nothing. He's frozen, unsure of what to do or say.

GLENN (CONT'D)  
>Well?<p>

CHASE  
>Uh-<p>

DAWN  
>It was my fault.<p>

Glenn faces Dawn again. Behind his back, Chase is making all kinds of faces and gestures at him. Willow is watching from behind Dawn, trying desperately not to crack up.

DAWN (CONT'D)  
>Yeah, I asked him for the time and we sort of got to talking.<p>

GLENN  
>I could almost buy that, if he were actually wearing a watch.<p>

A beat. Glenn whips back around quickly, but fails to catch Chase in the act.

GLENN (CONT'D)  
>You know, this kind of insubordination is disrespectful to not just me, but the entire Phi Omega Gamma brotherhood. We may just have to let you go, Pledge.<p>

Chase hangs his head in shame. His floppy bunny ears droop down in a comical manner.

GLENN (CONT'D)  
>(turning to Dawn)<br>However, I'm willing to overlook this whole incident. That is, if you give me your word that you'll come to our party this weekend, Miss-

DAWN  
>(annoyed)<br>Summers.

A beat.

GLENN  
>You wouldn't want Little Bunny Fu-Fu to get down on his knees and beg, would you?<p>

Over Glenn's shoulder, we see Chase reluctantly dropping to his knees. Dawn finally caves.

DAWN  
>Okay, fine. I'll go.<p>

GLENN  
>Thank you, Miss Summers. On behalf of The Brothers and I, we look forward to seeing you there.<br>(to Chase)  
>As you were, Pledge.<p>

Glenn walks off. It's only until he's out of sight that Chase finally stands up.

DAWN  
>Well, I know where I'm not gonna be this Saturday.<p>

CHASE  
>(worried)<br>You mean you're not going?

DAWN  
>Would you?<p>

CHASE  
>I kind of have to.<p>

DAWN  
>No, you really don't.<p>

WILLOW  
>Yeah, what's so great about those guys?<p>

CHASE  
>Nothing, really. Think of it as buying protection from The Mob by becoming a member.<p>

WILLOW  
>(scoffs)<br>Men can be such, boys sometimes.

CHASE  
>(to Dawn)<br>Seriously though, you have to be there. You don't even have to stick around, just make an appearance long enough for Glenn to spot you, and then bail. Glenn's pulled that act on three other girls today. I'm fine, honest. I'll be even better if you're at the party.

Chase puts his paws up like a begging dog.

CHASE (CONT'D)  
>Come on, help a bunny out?<p>

Dawn smiles.

DAWN  
>(defeated)<br>What time?

CHASE  
>(joyful)<br>It's all in the flyer. Thank you so much. I gotta run. I'll see you Saturday. Bring your friend.

DAWN  
>Wait! There's one more thing.<p>

CHASE  
>What?<p>

DAWN  
>Where's the Residential Advisor?<p>

CUT TO:

INT. RESIDENTIAL ADVISOR'S OFFICE - DAY

ANGLE ON: DESK

The desk is relatively neat and organized. On the far corner, there are two trays. One is marked "IN", the other says, "OUT". The Out tray contains a neatly folded pair of pastel colored pants, a book of the Atkins Diet, a System Of A Down album and a picture of Tom Cruise. The In tray contains a "Vote For Pedro" T-shirt, a book of the South Beach Diet, a Gwen Stefani album and a picture of Dane Cook.  
>We PAN UP to see a tall, attractive blond girl, balancing a book on her head. This is APRYL MADDUX, 22. She looks deep in concentration.<p>

ANGLE ON: DOOR

The door is open. Dawn steps into the doorway. She peers in and sees Apryl. After a moment of hesitation, she enters the office and approaches the desk.

DAWN  
>Uh, hi. Are you the R.A.?<p>

APRYL  
>(holding up a finger)<br>Just a sec.

A DING sounds from somewhere off screen. Apryl removes the book off her head and puts it down on her desk. She's suddenly bubbly and smiling.

APRYL (CONT'D)  
>(proud)<br>Three minutes! I beat my record!

A beat.

APRYL (CONT'D)  
>Can I help you?<p>

DAWN  
>I'm looking for the R.A.<p>

APRYL  
>You found me. I'm Apryl.<p>

They shake hands.

DAWN  
>Dawn Summers. I almost gave up. Chase told me where to find you.<p>

APRYL  
>Who?<p>

DAWN  
>The white rabbit?<p>

APRYL  
>Oh, him. Let me guess, P.O.G.?<p>

DAWN  
>Yeah. Is it always like this, or just during pledge week?<p>

APRYL  
>Please, pledge week is the only time this place actually feels like college. You'd be amazed at just how bizarre it can get around here.<p>

DAWN  
>Oh, I don't know about that. I'm from Sunnydale.<p>

APRYL  
>(beaming)<br>You're kidding!

DAWN  
>Believe me, I wish I was.<p>

Without saying a word, Apryl makes a mad dash behind her desk and starts digging through a bottom drawer. A moment later, she comes back up with an old yearbook in her hands. She shows it to Dawn. The front cover proudly displays the Sunnydale High logo. Dawn takes the book and starts skimming through it.

DAWN (CONT'D)  
>You went to Sunnydale? Wait, how old is this book?<p>

APRYL  
>May of '96. My parents dragged me out here that summer because a bunch of kids were turning up missing, or something.<p>

Dawn looks up from her reading material, trying to figure out if she heard Apryl's verbal mistake correctly.

APRYL (CONT'D)  
>I came all the way up here just to be home-schooled for the next three years. But, it all worked out. My Dad moved up the ladder pretty quick at the firm, which meant lots more money. Plus, he got me this job.<p>

DAWN  
>How is it?<p>

APRYL  
>(thinking)<br>It's a lot like baby sitting. There's a curfew, lots of studying, occasional vomiting. The only big difference is the number of people I'm responsible for.

DAWN  
>They're older, too.<p>

APRYL  
>Only on the outside. I mean really, how many grown ups do you know who dress up like a giant bunny?<p>

CLOSE UP ON: DAWN

We hold on Dawn's face, pondering the question.

FLASH CUT TO:

EXT. SIDEWALK - NIGHT [FLASHBACK]

We see Anya, from "Fear, Itself" (re: production code 4ABB04), wearing a furry, white bunny suit. A mixture of boredom and discomfort is on her face.

FLASH CUT TO:

INT. RESIDENTIAL ADVISOR'S OFFICE - DAY [PRESENT]

We're back where we should be. Dawn says nothing.

APRYL  
>I'm sorry, what was it you wanted again?<p>

DAWN  
>Oh, I have no clue where my dorm room is, except that it's on this floor...I think.<p>

APRYL  
>Don't worry, I'm almost certain that's what I'm here for. I can help you find it.<br>(stretching out hand)  
>I know this place like the back of my hand.<p>

The moment those words leave her lips, Apryl notices something on her hand that she's never seen before. She examines it for a beat, but quickly discards it as nothing important. Dawn puts the yearbook down on the desk, leaving it open to a random page. The two girls continue chatting as they leave the office.  
>We stay in here for a moment and PAN DOWN to the exposed page of the yearbook. We PUSH IN on various signatures and quotes. There's a small one at the bottom corner of the page that reads, "Thanks for noticing me. Marcie Ross." Right smack in the center of the page, bold and colorful reads the declaration, "YOU'RE SO MONEY! LOVE, QUEEN C."<p>

DISSOLVE TO:

EXT. PHI OMEGA GAMMA FRATERNITY HOUSE - NIGHT

The lights all appear to be off, but there's loud, abrasive punk rock blasting from inside. Chase, still sporting his bunny suit walks up to the house. He's wheeling a massive keg in front of himself. He knocks on the door. The force of his tapping pushes the door open. Cautiously, he steps inside.

INT. PHI OMEGA GAMMA FRATERNITY HOUSE - CONTINUOUS

Entering the cavernous living room, Chase finds it oddly deserted. He quickly makes his way over to the stereo in the corner, shutting off the intrusive music.

CHASE  
>(calling out)<br>Hello?

A faint rustling from somewhere upstairs gets Chase's attention. We CRANE UP behind him as he ascends up the steps.

INT. SECOND FLOOR HALLWAY - CONTINUOUS

Once he reaches the top of the stairs, Chase waits and listens for more sounds. Hearing nothing, he begins to take a left down the hall. An abrupt THUD startles him and provokes him to change his course.  
>Now heading right, he follows down to the door at the end of the hallway. Hesitant, he slowly puts his ear to the door. From the other side, he hears what is obviously the playful giggle of a YOUNG WOMAN. He rolls his eyes. Annoyed, Chase knocks on the door. It opens, slightly. Glenn pokes his head out.<p>

GLENN  
>Oh, you're back. Why did you kill my tunes?<p>

CHASE  
>The door was open. I thought something happened.<p>

GLENN  
>Something is happening. I'm getting my freak on, and you're ruining it. What do you want, Pledge?<p>

CHASE  
>Where is everybody?<p>

GLENN  
>(antsy)<br>Well, I can't speak for everybody, but the Brothers are all out, picking up girls. I'm sure that college brain of yours can figure out, I decided to stay here; Order in.

A beat.

GLENN (CONT'D)  
>Did you get the keg?<p>

CHASE  
>Yes, sir.<p>

GLENN  
>Good, so go fill it up already.<p>

CHASE  
>Um, Brother Glenn?<p>

GLENN  
>What?<p>

CHASE  
>Do you require my services for anything else?<p>

GLENN  
>No. My Father had the sex talk with me when I was twelve, so I'm good. Thanks.<p>

Chase turns to leave.

GLENN (CONT'D)  
>Oh, and Pledge?<p>

Chase faces Glenn, once more.

GLENN (CONT'D)  
>Unless someone's dying or dead, don't bother me again.<p>

CHASE  
>Yes, sir.<p>

With that, Glenn shuts the door in Chase's face. Chase stands there a moment, stewing. A deep sigh of frustration, and then he proceeds to head back downstairs.

CUT TO:

INT. GLENN'S ROOM - CONTINUOUS

The decor of Glenn's room is typical jock. Sports memorabilia, trophies, etc. In fact, when Glenn crawls into bed, he's right beside a YOUNG WOMAN who is wearing a long, hockey jersey. They kiss and snuggle for a moment.

GLENN  
>So, where were we?<p>

YOUNG WOMAN  
>(smiling)<br>You were about to tell me your name.

GLENN  
>No, I wasn't.<p>

YOUNG WOMAN  
>Come on. I told you my name.<p>

GLENN  
>Yeah, but it's not like I asked.<p>

YOUNG WOMAN  
>Please? You can make something up if you want to, I don't care.<p>

GLENN  
>Okay, uh...Glenn.<p>

YOUNG WOMAN  
>Is that your real name?<p>

GLENN  
>(smiling)<br>I thought you said it didn't matter.

YOUNG WOMAN  
>No, I said I don't care, and I don't. But it still matters.<p>

CLOSE UP ON: YOUNG WOMAN  
>She rolls over onto her other side. She's now facing away from Glenn. We're so close on her face, we don't see Glenn.<p>

GLENN  
>(OS)<br>Okay then. How do I know you're not lying about your name?

YOUNG WOMAN  
>You wanna see my ID?<p>

GLENN  
>No, it's okay. I trust you.<p>

YOUNG WOMAN  
>You trust me, but not enough to tell me your name?<p>

GLENN  
>I just told you my name.<p>

YOUNG WOMAN  
>No way you can actually be a "Glenn".<p>

GLENN  
>What, you don't think I look like a "Glenn".<p>

YOUNG WOMAN  
>I just meant that because you may look like a "Glenn", doesn't mean you are.<p>

GLENN  
>What makes you say that?<p>

YOUNG WOMAN  
>Appearances can be deceiving, that's all.<p>

We PAN RIGHT to catch just the beginnings of Glenn's lips and nose, entering the frame. He lets a breath go out from his nostrils and stimulate the little hairs on the back of the Young Woman's neck. When we PAN even further, getting Glenn's profile into view, we see that he suddenly has Vamp Face!

GLENN  
>You've got that right.<p>

BLACK OUT.


	2. Orientation

DAWN: The Series  
>1x02 "Orientation"<p>

Written By kungfubear

Created By kungfubear & Skinless

Based on characters created by Joss Whedon

TEASER

INT. LIVING ROOM - NIGHT

ANGLE ON: TV

A 60" LCD Wide-screen is mounted on the wall. On the screen, we see Daffy Duck being transformed into a four-legged, flower-headed creature (see "Duck Amuck").

REVERSE ANGLE ON: GROUP

DAWN, WILLOW & KENNEDY are seated on a big, comfy couch. They're all dressed in pajamas and staring at the cartoon, a bit awestruck.

KENNEDY  
>It's so...anamorphic.<p>

WILLOW  
>I've seen my share of demons, vampires and even a flaying, but there's something about a five-foot tall Daffy that creeps me out.<p>

BARRET enters from the kitchen, carrying a large bowl of popcorn. He sits down next to Dawn, placing the bowl in between them.

BARRET  
>Just be thankful it's not in high definition.<p>

DAWN  
>(mouthful of popcorn)<br>I think it's cool.

BARRET  
>Ah, I knew there was a reason I bought all this crap. So, I hear Dawn's going to her first college party.<p>

DAWN  
>(sarcastic)<br>Hooray.

BARRET  
>That doesn't sound good. If you're dreading the experience, then why go?<p>

DAWN  
>I promised this giant bunny I'd show up.<p>

Confused, Barret looks to Willow for answers.

WILLOW  
>A pledge invited her. He was wearing a costume.<p>

Barret nods even though it's clear he doesn't fully understand.

BARRET  
>Of course.<p>

KENNEDY  
>Trust me Dawn, after life in Sunnydale, big social gatherings are about as exciting as a PBS telethon.<p>

WILLOW  
>(wounded kitten)<br>Hey, I like PBS.

KENNEDY  
>And I like you, so it all works out.<p>

BARRET  
>Look on the plus side, you might meet someone at the party.<p>

WILLOW  
>Hey, yeah. That guy Chase seemed interested.<p>

Dawn starts warming up to the idea.

DAWN  
>Maybe. I still need to see him without the floppy ears and the cotton tail, though.<p>

BARRET  
>We're still talking about the guy in the bunny suit, right?<p>

DAWN  
>(smiling)<br>You know what? You guys are right. I should go out tomorrow and have fun. I mean, it's just a kegger. It's not like it's gonna kill me.

CUT TO:

INT. PHI OMEGA GAMMA HOUSE - BASEMENT - NIGHT

ANGLE ON: FLOOR

We see a series of glyphs painted on the dirty floor of the basement. Circled around these symbols, we see a group of FRAT BROTHERS. Among this group, we see GLENN. We center on JACOB, 24. He's short with wavy, blond hair.

JACOB  
>Welcome, Brothers. As you know, tomorrow night is our Annual Fish Tank Party.<p>

A heavyset, buzz-cut Frat Guy cuts him off. This is Tug, 21.

TUG  
>Fiesta.<p>

JACOB  
>Thank you, Tug. Good work on the flyers, by the way.<p>

TUG smiles proudly.

JACOB (CONT'D)  
>This is also the last night of pledge week. Many of you will soon be branching out on your own, spreading the good word of our fraternity. While I do strongly advocate this form of networking, I've thought of a more efficient, local solution to strengthening our numbers.<br>(to Glenn)  
>Brother Glenn? The keg.<p>

Glenn wheels in the massive keg we last saw in Chase's possession. He places it in the center of the circle and removes the lid, revealing gallons of beer.

JACOB (CONT'D)  
>There are those who do not understand our cause, which is why we must take a more secretive approach to paying it forward, so to speak.<p>

As Jacob is talking, Glenn is handing out knives to each and every one of the brothers. Once they're all set, Glenn joins the circle as they all hold out their hands and proceed to cut into their palms.

JACOB (CONT'D)  
>Get your game faces on, boys.<p>

With that, every member of the group goes Vamp Face on us.

JACOB (CONT'D)  
>Tomorrow night, we turn fish into sharks.<p>

The brothers keep their hands out over the keg as blood begins to spill from their wounds.

JACOB (CONT'D)  
>Long live The Brotherhood.<p>

THE BROTHERHOOD  
>(in unison)<br>Long live The Brotherhood!

OVERHEAD ON: THE KEG

We PUSH IN on the brew within the keg, as the blood and beer begin to mix.

BLACK OUT.

END OF TEASER

CUE MUSIC AND OPENING: "Tomorrow" by SR-71

ACT ONE

INT. KITCHEN - MORNING

ANGLE ON: REFRIGERATOR

Dawn opens the refrigerator, searching for some semblance of breakfast.

DAWN  
>Hey, has anybody seen my student ID? I can't find it.<p>

Kennedy and Willow are already seated at the table.

WILLOW  
>I don't think you're gonna find it in there, Dawn.<p>

KENNEDY  
>Don't be so sure. I got drunk once and left my keys in the dishwasher. They smelled like lemons for a month.<p>

She spots a pizza box on the bottom shelf. She pulls it out and sets it on the table.

WILLOW  
>Pizza for breakfast?<p>

KENNEDY  
>Correction. Cold pizza for breakfast.<p>

DAWN  
>Hey, it's got all the four basic food groups.<p>

Dawn is about to open the box, but Barret stops her.

BARRET  
>I wouldn't open that.<p>

DAWN  
>Why, is it old and nasty?<p>

BARRET  
>Well, you're half right.<p>

Cautiously, Dawn opens the box. A big smile broadens across her face.

DAWN  
>(excited)<br>Anchovies! Score!

WILLOW  
>(queasy)<br>I'm suddenly the very opposite of hungry.

DAWN  
>Oh come on, Willow. Anchovies are awesome.<p>

WILLOW  
>Really, that's okay. You go ahead and have an awesome time.<p>

DAWN  
>Okay, more for me and Kennedy, then.<p>

Kennedy pushes herself away from the table.

KENNEDY  
>Actually, that's all you, Kiddo.<p>

DAWN  
>(shrugs)<br>You don't know what you're missing.

BARRET  
>Regurgitation, I'd imagine.<p>

WILLOW  
>Oh God, don't say it!<p>

Barret smiles. Dawn sits down and starts eating. So she doesn't have to watch it, Willow uses the lid from the box to block her view.

KENNEDY  
>Uncle Barret, why do you have that in your fridge if you've no intention of eating it?<p>

BARRET  
>I bring food home from work all the time, only it wasn't until I got in last night that I realized why someone sent back an entire thin crust.<p>

KENNEDY  
>Why were you working so late, anyway?<p>

BARRET  
>My weekend regular didn't show up for work.<p>

WILLOW  
>Does that happen a lot?<p>

BARRET  
>This is a college town. What do you think?<p>

KENNEDY  
>Do you need an extra pair of hands? I'd be happy to pitch in for a while.<p>

BARRET  
>Yeah, definitely.<p>

DAWN  
>(to Kennedy)<br>You used to deliver pizza?

BARRET  
>Better than that, she used to make them.<p>

Suddenly, the doorbell rings.

BARRET (CONT'D)  
>Hold on. The mail is here.<p>

Barret exits.

DAWN  
>(to Kennedy)<br>Did you get to wear one of those floppy, Chef's hats?

KENNEDY  
>(playful)<br>We had to flip a coin. Barret got the hat. I got the handlebar moustache.

Dawn closes the pizza box and stands up from the table.

DAWN  
>I have no idea what I'm gonna wear to this party tonight.<p>

KENNEDY  
>Correct me if I'm wrong, but don't you have an overflowing closet full of the latest Italian fashions, actually purchased in Italy?<p>

DAWN  
>Yeah, but that says "Italian Dawn". I'm looking for something that's totally not me. Something out of left field.<p>

WILLOW  
>(beaming)<br>I have an idea. Come with me.

She grabs Dawn by the wrist and starts pulling her away.

CUT TO:

INT. WILLOW & KENNEDY'S BEDROOM - LATER

CLOSE UP ON: DAWN & WILLOW

They're both looking at something off screen. Willow looks a bit proud, while Dawn appears more taken aback than anything.

DAWN  
>What in the world are you doing with this in your wardrobe, or do I even want to know?<p>

WILLOW  
>You said you wanted something out of left field. This goes all the way back to the parking lot.<p>

WIDE ON: FULL LENGTH MIRROR

We get a full body view of Dawn in the mirror's reflection. She's wearing boots, a short, black leather skirt and a burgundy, long-sleeved, V-necked midriff-baring top. In fact, it's the costume Buffy had forced Willow to wear back in "Halloween" (re: production code 5V06).

DAWN  
>Don't you mean street corner?<p>

WILLOW  
>Do you like it?<p>

DAWN  
>(smiling)<br>It's perfect! I love it! Do you think it'll get me noticed?

WILLOW  
>I can almost guarantee you'll be the center of attention.<p>

CUT TO:

INT. PHI OMEGA GAMMA HOUSE - BASEMENT - LATER

ANGLE ON: FLOOR

The basement floor is bare for only a moment. The body of the Young Woman from Glenn's room falls into frame. This was TINA, 21.

WIDE ON: BASEMENT

Glenn and Jacob are arguing. Tug is putting up decorations for the party. They're still in Vamp Face.

JACOB  
>All you had to do was keep your appetite in check until tonight.<p>

GLENN  
>So, I had a little taste. What's the big deal?<p>

JACOB  
>She's been tainted! She's useless to us now! I can't believe you sometimes!<p>

TUG  
>Uh, guys. You're spreading a lot of bad energy around. This is supposed to be a party room, and I don't know how I'm gonna pull that off if you keep-<p>

Annoyed, Jacob forcefully gives Tug a bottle. He examines it and is suddenly very happy.

TUG (CONT'D)  
>(gasps)<br>Glitter Glue!

This seems to satisfy Tug as he goes back to his decorations.

JACOB  
>(to Glenn)<br>This is never going to work if you can't learn to control yourself.

GLENN  
>Stop bitching, alright? Look where we are. A place like this is crawling with girls, and we can have our fill. It's totally catered.<p>

JACOB  
>Yes, but we only need one specific girl. Things aren't like they used to be, or haven't you noticed? The longer we wait, the harder it is to find a girl of pure blood.<p>

TUG  
>Why don't we just hit a convent or something?<p>

GLENN  
>Tug, if you need a twenty, you don't try to break into the Federal Reserve.<p>

TUG  
>I don't?<p>

GLENN  
>Why go through the hassle when you could just pick someone's pocket?<p>

TUG  
>Oh, right.<p>

GLENN  
>(to Jacob, re: Glue)<br>He's not sniffing that stuff, is he?

JACOB  
>I'm more curious about you, right now. The sun is out, and we only have a handful of hours to find a replacement. How the hell could you be so careless?<p>

Glenn has a knowing smirk on his face. Jacob catches it.

JACOB (CONT'D)  
>Unless, you weren't being careless.<p>

He looks down at Tina's dead body and then back to Glenn.

JACOB (CONT'D)  
>(pointing)<br>You knew she was no good, didn't you?  
>(smiles)<br>Tell me you can get a replacement.

Glenn slaps his hand on Jacob's shoulder.

GLENN  
>Jacob, my friend, I won't have to.<p>

He hands Jacob a small card.

GLENN (CONT'D)  
>Our replacement will come to us.<p>

CLOSE UP ON: ID CARD

We see that the object Jacob is now holding, is Dawn's Student Identification Card, complete with her photo and home address.

BLACK OUT.

ACT TWO

INT. PHI OMEGA GAMMA HOUSE - NIGHT

HIGH ANGLE ON: DEN/LIVING ROOM

The Fish Tank Fiesta is in full swing. Much of the furniture has been cleared out to make room for the crowd. A makeshift stage has been set up in the corner, including a full bar off to the side. Guys are trying to pick up girls. Almost everyone is holding a drink. Those who don't, are dancing to some generic, punk rock. We CRANE DOWN through the masses to find Dawn and Willow entering.

DAWN  
>So, we're here. What now?<p>

A beat. Willow looks around.

WILLOW  
>(pointing)<br>Oh, punch!

They make their way to a table where we see Tug, serving punch. He politely hands Willow a cup. He starts to pour one for Dawn. Willow takes a sip from her cup. She grimaces.

WILLOW (CONT'D)  
>(to Tug)<br>Ugh! What the hell is this?

TUG  
>Cherry Hi-C...with a spark of Everclear.<br>(to Dawn)  
>Here, try it.<p>

Happily, Dawn reaches out to take the cup. Willow quickly snatches it away.

WILLOW  
>No!<br>(to Tug)  
>She's not 21, and that's more than a spark, mister. It's a raging inferno.<p>

TUG  
>I've got green apple, too.<p>

WILLOW  
>Really? What's in that, Vodka?<p>

TUG  
>Pretty much.<p>

A beat.

WILLOW  
>Kitchen?<p>

TUG  
>(pointing)<br>Through there.

INT. KITCHEN - CONTINUOUS

There's almost no one in the kitchen. For a fraternity, this room is surprisingly clean. Dawn and Willow enter. They make a bee line for the refrigerator.

DAWN  
>What are we doing in here?<p>

WILLOW  
>Looking for something to drink that won't make us go blind.<p>

Willow opens the fridge.

ANGLE ON: REFRIGERATOR

We see the shelves are packed with comical amounts of beer.

ANGLE ON: WILLOW AND DAWN

WILLOW (CONT'D)  
>(defeated)<br>I'd try the water faucet, but it's probably wine.

From behind Dawn, CHASE steps into the frame, handing her a can of soda. He's still wearing the bunny suit.

CHASE  
>It's not wine, but with all the mystery minerals floating around in it, I don't think you can legally call it water, either.<br>(to Willow)  
>Hey.<p>

Chase also gives Willow a soda. He's halfway through his own.

WILLOW  
>Hi.<p>

CHASE  
>I'm glad you two could make it. Anymore of this crap by myself and I was gonna start laying Cadbury eggs for my own amusement.<p>

WILLOW  
>Don't you know anybody here?<p>

CHASE  
>Sure, I know tons of people, that doesn't exactly make us friends.<p>

DAWN  
>How much longer do you have to wear that thing?<p>

CHASE  
>(raising the roof)<br>Tonight's my last night. After that, I'm a free man.

Dawn takes a drink of her soda.

DAWN  
>This is ice cold. Where did it come from?<p>

CHASE  
>There's a whole cooler full of them in the attic. Glenn's got a secret stash of snacks and drinks up there. You wanna see?<p>

DAWN  
>(worried)<br>That depends. He's not up there right now, is he?

CHASE  
>Nope, I checked. The entire second floor is empty, which is rare considering it has an air hockey table.<p>

DAWN  
>(to Willow)<br>Hey, Kennedy loves air hockey. You should totally go call and tell her all about it.

WILLOW  
>(taking the hint)<br>Oh, yeah. Good idea because hey, air hockey on the second floor, pretty snazzy.

DAWN  
>And don't forget, you've got unlimited night time minutes on your phone.<p>

WILLOW  
>Right, right. All those free minutes. It'd be a shame not to use 'em. I mean-<p>

Dawn senses it's laying on a little thick now.

DAWN  
>Just go.<p>

WILLOW  
>I'm gone.<p>

Willow quickly exits, leaving Dawn and Chase alone in the kitchen. A beat.

CHASE  
>So, who's Kennedy? Is that her sister?<p>

Chase takes a drink of his soda.

DAWN  
>(wicked smile)<br>She's her lover.

Chase abruptly chokes on his drink and goes into a coughing fit at this alarming news. Dawn grins, a little proud of herself.

CUT TO:

INT. MILANO'S PIZZA PALACE - NIGHT

CLOSE UP ON: PHONE

The phone is sitting on a counter, next to an open menu. The receiver has a few spots of flour on it from the dough. The phone rings. A hand comes into frame and picks it up. We WHIP PAN UP to see Kennedy. She's wearing a red apron that's more than a little dirty, and a goofy hat with a big, droopy foam rubber pizza slice on top.

KENNEDY  
>(into receiver)<br>Milano's Pizza Palace?

INT. PHI OMEGA GAMMA HOUSE - CONTINUOUS

We see Willow over by the punch table, talking into her cell phone. Behind her, Tug is mixing drinks.

WILLOW  
>(into phone)<br>Hey, baby.

INTERCUT WILLOW/KENNEDY

KENNEDY  
>Hey, how's the party?<p>

WILLOW  
>It's okay, so far. Dawn ran into that guy Chase. I think they're really hitting it off. How's work?<p>

KENNEDY  
>It's steady. What's he like, anyway?<p>

WILLOW  
>Well, he's still wearing the costume, so he's got conviction and determination. Also, not afraid to look vulnerable. He seems thoughtful and polite enough.<p>

KENNEDY  
>That almost sounds like Xander.<p>

WILLOW  
>If I found him an eye patch, he might be able to pull that off, only shorter.<p>

From behind Kennedy, we hear Barret's voice.

BARRET  
>(OS)<br>Order Up!

KENNEDY  
>Hey, business is picking back up. You want me to bring anything home for dinner?<p>

WILLOW  
>Oh, do you have pasta?<p>

KENNEDY  
>Sure, I can make some angel hair, if you want.<p>

WILLOW  
>Sounds good. I'll see you later tonight, okay?<p>

KENNEDY  
>Okay. Bye, sweetie. I love you.<p>

WILLOW  
>(smiling)<br>Love you, too.

Willow hangs up her phone. Just then, the music in the place dies down.

ANGLE ON: STAGE

We see QUINN, stepping up onto the stage. He's wearing a suit and tie, a complete change from the last time we saw him. A microphone is in his hand. He speaks into it like some sort of circus ringmaster.

QUINN  
>(into microphone)<br>Good evening all you fine specimens out there. How is everyone tonight? Do you feel alive?

The crowd cheers.

QUINN (CONT'D)  
>Come on, you can do better than that. I said, do you feel alive?<p>

The crowd cheers again, this time more passionately.

QUINN (CONT'D)  
>That's what I like to hear! Now folks, this past week has been very rough on you, I'm sure. Registrations, parking permits, freshman orientations, hazing, all of that crap. Believe me when I tell you, the weeks ahead don't get any prettier. So, in an effort to boost morale here tonight, the Phi Omega Gamma fraternity has asked me to give you a glimpse of something beautiful. Ladies and Gentlemen, what I'm here to bring you is not a quick fix, it is not an easy answer to your problems. Instead, I offer a simple pleasure, something that both men and women, can and will enjoy here tonight.<p>

Quinn looks over the audience. Before he continues, his eyes are already locked onto Willow.

QUINN (CONT'D)  
>Folks, I'm a firm believer in audience participation. It is with that in mind that I ask for a volunteer to come up here and join me on this stage.<p>

Many people raise their drinks, like children in a classroom raising their hands to be called upon.

QUINN (CONT'D)  
>Let's see, who will it be?<p>

A beat.

QUINN (CONT'D)  
>(pointing)<br>You!

A path clears in the crowd as everyone turns to look at Willow. She's suddenly feeling very uncomfortable.

WILLOW  
>Who? Me?<p>

Quinn makes a gesture with his finger for Willow to come forward.

WILLOW (CONT'D)  
>But, I didn't raise my hand.<p>

QUINN  
>Which is exactly why you should come up here. Come on folks, give her a hand.<p>

The crowd cheers. Reluctantly, Willow makes her way up to the stage. Quinn covers the microphone and whispers to her.

QUINN (CONT'D)  
>There's nothing to be afraid of.<p>

WILLOW  
>You're not gonna ask me to sing, are you?<p>

QUINN  
>No. All I ask is that you have a seat in that chair.<p>

Willow looks past Quinn just in time to see someone setting a chair on the stage. After a moment of hesitation, she sits down, placing her hands neatly in her lap.

QUINN (CONT'D)  
>(into microphone)<br>And now, Ladies and Gentlemen, please show your love and affection for the main attraction of the hour, Cat!

Quinn quickly leaves the stage. Hard core dance music begins to pound out from hidden speakers. Out from behind a curtain, CAT enters onto the stage. She's wearing a glittered bikini, also looking drastically different from her first appearance. She proceeds to dance and gyrate in front of Willow. The crowd erupts with noise and applause. At one point, she gets so close to Willow, she could easily sit in her lap. Instead, she leans down and talks to Willow. The music is so loud, the crowd cannot hear them.

CAT  
>Hi there.<p>

WILLOW  
>(nervous)<br>Hello again.

CAT  
>How's your night going so far?<p>

WILLOW  
>Well, it's a bit shocking.<p>

CAT  
>I hate to break it to you, but shocking isn't the word for it.<p>

Cat continues moving about, circling the chair seductively.

WILLOW  
>What do you mean?<p>

CAT  
>Very soon, you, me and my friend Quinn over there are about to become the only living people in this room.<p>

A beat. Willow's not sure how to respond.

CAT (CONT'D)  
>I want you to listen to me very carefully.<p>

CUT TO:

INT. ATTIC - LATER

The attic of this fraternity is set up like a spare bedroom. There's a bed, a cooler, a mini-fridge, a stereo and a TV. Dawn and Chase enter.

DAWN  
>Oh, cool. So, this is like your own personal hideaway.<p>

CHASE  
>Well, actually Glenn set the place up. But, after I become a member of the POG house, this room becomes officially mine. And here's the best part.<p>

With that, Chase flips a switch on the wall. A vast web of Christmas lights illuminate from the ceiling, giving the place a comforting glow. Dawn smiles at Chase's obvious attempt to charm her. Smiling back, Chase produces a remote from seemingly out of nowhere and aims it at the stereo. A couple of button presses later and sensuous, down tempo music fills the air.

DAWN  
>(re: the remote)<br>Where did that come from?

CHASE  
>This suit has pockets, too.<br>(holding out his hand)  
>Would you care to dance?<p>

Dawn takes Chase's hand and the two begin to slow dance, barely a sliver of space between their bodies.

DAWN  
>I really didn't want to come to this party.<p>

CHASE  
>Believe me, I know the feeling. It's not my idea of a good time, either. I'd much rather have a quiet evening alone.<p>

EXTREME CLOSE UP: DAWN AND CHASE

Dawn stares at Chase for a moment.

DAWN  
>This is too weird.<p>

CHASE  
>What's that?<p>

She reaches up, pulls the hood of his costume down and is finally getting a good look at him.

DAWN  
>That's much better.<p>

CHASE  
>I've been dressed like this for so long, I sometimes forget it's there.<p>

DAWN  
>Seems to me like it would be a distraction.<p>

CHASE  
>Not really. At least, not when I'm distracted by something much more...interesting.<p>

Their faces are mere inches apart. In an attempt to diminish some of the mounting tension, Dawn turns around, pressing her back up against Chase's front.

DAWN  
>I still don't get you. If you're the quiet loner type, then why join a fraternity?<p>

CHASE  
>There's a difference between being alone, and being lonely. But, I guess it is kind of a double edged sword.<p>

DAWN  
>How so?<p>

CHASE  
>Well, on the one end, I thought joining a fraternity would help me to meet women. On the other hand, a guy in a bunny costume isn't very popular with the ladies.<p>

DAWN  
>Would you settle for at least one curious party?<p>

Chase is basically whispering in Dawn's ear at this point.

CHASE  
>Oh, time with you isn't "settling" in my eyes.<p>

Dawn turns back around. The two of them are face to face again.

CHASE (CONT'D)  
>I'm sorry, I didn't mean for that to sound like such a line.<p>

DAWN  
>It's okay. I'm not stupid. Whether you believe it or not, you could get any girl you wanted up here. Instead, you asked me. And I said yes because I wanted to.<p>

The two of them are getting closer.

CHASE  
>I didn't mean to be so presumptuous. I have a tendency to take what I don't deserve. I guess that makes me somewhat of a thief.<p>

Dawn closes her eyes. Their noses meet.

DAWN  
>It isn't stealing, if you have permission.<p>

Suddenly, Dawn's eyes snap open. She takes in a sharp breath as if she's about to speak. Instead, her eyes close again and she passes out. Her body goes limp in Chase's arms. We see behind Dawn's back, in Chase's left hand is a syringe.

CHASE  
>Good to know.<p>

BLACK OUT.

ACT THREE

INT. PHI OMEGA GAMMA HOUSE - BASEMENT - LATER

DAWN'S POV: CHASE

Everything is blurry at first as Chase's image slowly comes into focus.

CHASE  
>Oh good, you're awake.<p>

WIDE ON: BASEMENT

Dawn awakens to find herself in the basement with some of the frat brothers. She's tied down to a chair. Jacob, Tug and Glenn are standing over by the keg.

DAWN  
>What's going on? Where am I?<p>

CHASE  
>You're in the basement. I figured it only fitting since you've already seen the attic.<p>

Dawn tries to struggle free of the ropes, but they're too tight.

JACOB  
>Don't bother wasting your energy. Tug here doesn't know much, but he knows how to tie a girl up.<p>

TUG  
>(smiling)<br>I was an eagle scout, until I ate my troop.

DAWN  
>(disgusted)<br>Who the hell are you people?

JACOB  
>I'm sorry. In all the illegal excitement, I guess we forgot to introduce ourselves. My name's Jacob.<br>(points to Tug)  
>That's Tug. You already know Glenn and his pledge, Little Bunny Fu Fu.<p>

Jacob moves in close to Dawn. He gets his Vamp Face on.

JACOB (CONT'D)  
>So, in a way, that makes you a helpless field mouse.<p>

CHASE  
>So, we're good, right? Am I in?<p>

DAWN  
>What? You did this so you could get into a stupid frat?<p>

CHASE  
>Come on, Jacob.<p>

JACOB  
>(to Chase)<br>Well, I will admit you did come through for us.  
>(looks at Dawn)<br>The brothers and I are more than pleased.

Glenn holds up Dawn's ID card.

GLENN  
>What about me? I'm the one who picked her pocket.<p>

JACOB  
>(rolls his eyes)<br>Yes, Glenn. We're all very impressed with your slight of hand. David Copperfield's got nothing on you. Can we please stay focused here?

GLENN  
>I just like being appreciated is all.<p>

JACOB  
>Chase appreciates you.<br>(to Chase)  
>Don't you, Chase?<p>

CHASE  
>Oh, you bet. Putting me through seven circles of hell, all while I get to wear such a fine outfit.<p>

Jacob moves past Dawn and to the back wall. On the wall is a large tapestry with the university logo on it. Jacob snatches the tapestry down off the wall to reveal a wide display of various weapons. He takes down a large axe and offers it to Chase.

JACOB  
>Because of your loyalty and devotion these past two weeks, I think you've more than earned a place within the highest ranks of The Brotherhood.<p>

Chase takes the axe into his grasp and holds it proudly as if he's won some award.

JACOB (CONT'D)  
>Are you ready to perform this final task towards full membership?<p>

Chase steps in front of Dawn, his axe held out before him. Dawn cringes, afraid of what's coming.

CHASE  
>Definitely.<p>

Without another word, Chase swings the axe around while turning to face Glenn, who had been standing behind him. The blade decapitates Glenn in a single, smooth motion, immediately turning him to dust. The ID card falls to the floor, next to a newly deposited pile of ashes.

CHASE (CONT'D)  
>Damn, that felt good!<p>

JACOB  
>I'll bet. Pretty good for someone who's never swung an axe before.<p>

Chase hands the axe back to Jacob.

CHASE  
>Thanks. Does this mean I get his room?<p>

JACOB  
>Of course, you've earned it. Glenn's been with our fraternity almost since its conception, and he's never been able to bring us a single virgin sacrifice.<p>

DAWN  
>(urgent)<br>Oh, I'm not a virgin!

Everyone in the room turns to look at Dawn, startled by her sudden outburst.

DAWN (CONT'D)  
>Yeah, I'm a total slut. Ask anyone. I mean seriously, would a virgin dress this way?<p>

The guys look at each other and then back at Dawn.

JACOB/TUG/CHASE  
>(in unison)<br>Yeah.

DAWN  
>(desperate)<br>Well, I'm still a tramp. I guess that puts a damper on your use for me, so if you could just untie me-

CHASE  
>(brush off)<br>She's lying. This girl's definitely pure. I can totally smell it on her.

DAWN  
>(disgusted)<br>You can smell that? That's so gross!

Just then, we hear the simultaneous alarms from the wristwatches of each Brotherhood member.

JACOB  
>(looking at watch)<br>That will be last call for drinks upstairs. We should probably finish up.

The guys gather around the keg. They join hands and form a semi-circle. Chase stands by Dawn for a moment, watching the others.

CHASE  
>(laughs)<br>The only thing we're missing are some hooded robes.

The Brothers begin chanting in an ancient language, quietly. Chase looks to Dawn for approval of his sense of humor. She's not amused, but rather worried.

CHASE (CONT'D)  
>Hey, cheer up, Dawn. You're about to be part of something really special.<p>

DAWN  
>What are you talking about?<p>

CHASE  
>I'm talking about the gift of eternal life. No more dying of old age. No more waiting in line to die because you're at the bottom of a five mile donor list. No more dying of cancer and disease. Hell, no more dying, ever. The best part, it's total equality. No discriminations. No special requirements. Everyone qualifies as a member. We're gonna sire that entire room of folks upstairs, and we're gonna do it from down here.<p>

A beat.

CHASE (CONT'D)  
>Neat, huh?<p>

DAWN  
>How?<p>

CHASE  
>Normally, a true magician never reveals his secrets, but you're gonna die soon, so I don't see the harm in it. It's an old trick, passed down through generations of the undead. Every person up there with a drink in their hand has tasted our blood and they don't even know it. A few incantations and the proper ingredients mixed into the source, and you can spread the effect from person to person. All you need is a virgin's blood. Vampires in the know used to do it all the time. But, with the world we live in today, finding a chaste and virtuous girl such as yourself is exceedingly difficult.<p>

DAWN  
>(struggling)<br>No. You can't do this. I won't let you!

CHASE  
>I admire your persistence Dawn, but you've just gotta face it.<p>

Chase holds up a vile of Dawn's blood.

CHASE (CONT'D)  
>We are doing this.<p>

A beat.

CHASE (CONT'D)  
>(smiling)<br>I told you. I'm a thief.

With that, Chase steps up to the keg. He pours the contents of the vile into the mixed brew. The liquid begins to turn from a frothy amber to a glowing red.

JUMP CUT TO:

INT. PHI OMEGA GAMMA HOUSE - CONTINUOUS

ANGLE ON: FLOOR

A cup drops to the floor, spilling the glowing beverage onto the carpet. We WHIP PAN UP to see a random student instantly turning into a vampire. All around, throughout the room, dozens of people are going Vamp Faced. The few designated drivers of the party who didn't drink are being bitten. We CRANE PAST the crowd to the stage where we see Quinn, Cat and Willow. They're bracing themselves for the fight that's about to come.

QUINN  
>Now!<p>

Cat starts lighting a few Molotov ****tails and throwing them into the crowd. The vampires who get hit with the bottles burst into flame. A spring-loaded, collapsible cross emerges from within the sleeves of Quinn's jacket. The ends of each cross have been sharpened to fine points. He proceeds to stake and dust any vampires that get close enough to him. Meanwhile, Willow is producing self contained balls of fire and sending them into any approaching threat.  
>The three of them do a decent job of keeping their enemies at bay for some time, but they're outnumbered. More vampires continue to rush the stage, forcing our heroes to move further back, trying to keep their distance.<p>

INT. PHI OMEGA GAMMA HOUSE - BASEMENT - CONTINUOUS

Back with Dawn and the Brotherhood. Chase is listening to the screams and commotion coming from upstairs. He circles around Dawn like a shark before facing her again.

CHASE  
>(smiling)<br>You hear that, Dawn? That's the sound of evolutionary progression, and it's all because of you.

Chase's features morph into a Vamp Face.

CHASE (CONT'D)  
>I just wanted you to know that before I killed you.<p>

He lunges at Dawn and manages to sink his teeth into her neck. Dawn cries out from the pain.

CLOSE UP: CHASE

Chase starts to drink the life from Dawn, when suddenly, his eyes open in shock and he spontaneously turns to dust. A silence hangs in the air for a moment. The Brothers stare at Dawn, confused. She looks down at the dust on the floor, equally just as confused.

TUG  
>(dumbfounded)<br>Uh, Chase exploded, Jacob.

JACOB  
>(frozen)<br>Yes I see that, thank you, Tug.

The door to the basement busts open. Willow, Cat and Quinn enter.

TUG  
>Are they gonna kill us, Jacob?<p>

JACOB  
>It looks that way.<p>

Quinn aims both his crosses at the two befuddled vampires.

TUG  
>I hate college.<p>

Quinn thumbs back a small release on each device, which sends the longer ends harpooning into Jacob and Tug, dusting them both. Cat quickly unties Dawn.

WILLOW  
>(hugging Dawn)<br>Are you okay?

DAWN  
>Yeah, I think so.<p>

WILLOW  
>Did they hurt you?<p>

Dawn shows Willow the bite marks on her neck.

DAWN  
>That guy Chase bit me.<p>

WILLOW  
>(looking around)<br>Where is he? Did he get away?

Dawn says nothing.

WILLOW (CONT'D)  
>(concerned)<br>Dawn?

We hold on Dawn's expression, her eyes trying to find answers to a thousand new questions.

DISSOLVE TO:

EXT. MILANO'S PIZZA PALACE - LATER

WIDE ESTABLISHING: RESTAURANT

The parking lot is empty, except for the Minivan. The lights for the sign are currently off. It's late.

INT. MILANO'S PIZZA PALACE - CONTINUOUS

CLOSE UP: BANDAGE

Being applied to the wound on Dawn's neck.

KENNEDY  
>(OS)<br>There we go. Good as new.

ANGLE ON: GROUP

Our gang is gathered inside the restaurant, by the register. While Kennedy patches Dawn up, Willow is at a small table eating a plate of pasta. Barret is sort of just hanging back. A broom is in his hands, having recently finished cleaning up for the night.

BARRET  
>(to Dawn)<br>I want to make sure I understand this right. You say he bit you and then basically went poof?

DAWN  
>Basically? Yeah.<p>

WILLOW  
>I don't think I've ever heard of anything like that happening before.<p>

KENNEDY  
>Do you think Giles might, in one of his books, maybe?<p>

WILLOW  
>It couldn't hurt to ask. Besides, I know he'll be real interested to hear this one.<p>

DAWN  
>Willow? Can you make sure he doesn't say anything to Buffy, not yet anyway?<p>

WILLOW  
>If Buffy knew about this, I'd be in as much trouble as you. You're all tied up in a basement being sacrificed and where was I? Blabbin' away on the phone to my girlfriend and getting lap dances from stripper waitresses.<p>

Dawn, Kennedy and Barret stare at Willow, who suddenly goes five shades of red.

WILLOW (CONT'D)  
>(small)<br>Didn't I mention that part before?

DAWN/KENNEDY/BARRET  
>(in unison)<br>No.

Willow kind of shrinks back to the girl she was in high school for a moment and then concentrates very hard on her food.

WILLOW  
>This is really good pasta.<p>

DAWN  
>It wasn't your fault, Will. How was I supposed to know there would be vampires here?<p>

BARRET  
>The nearest Hellmouth is in Cleveland, right? Maybe this is some kind of mystical convergence residue, except, not so much with the converging part.<p>

DAWN  
>Sometimes I wonder if I attract this kind of thing.<p>

WILLOW  
>You've gotta stop thinking like that. Xander thought the same thing about himself, but he doesn't anymore, because he knows better now. You do, too.<p>

DAWN  
>I know, and you're right. But, what if my problem is I spent so much time figuring out who I am, that I forgot to think about what I am?<p>

BARRET  
>Well, maybe that's why we're here, to help you figure that out.<p>

DAWN  
>You really believe that?<p>

BARRET  
>Well, what the hell else am I gonna do with myself? If my purpose in this world is to help you find yours, then that suits me just fine, Dawn.<p>

DAWN  
>(smiling)<br>Thanks, you guys.

KENNEDY  
>Speaking of purpose, I can think of at least one we should all tackle together.<p>

WILLOW  
>What's that?<p>

BARRET  
>Eating the loaf of cinnamon bread that came out of the oven about fifteen minutes ago.<p>

They all freeze for a moment before racing towards the kitchen in the back. We don't follow them. Instead, we CRANE DOWN onto the counter, by the register. Sitting on the counter is Dawn's ID card. We PUSH IN on the name, Dawn Summers.

BLACK OUT.

EXECUTIVE PRODUCERS  
>skinless<br>kungfubear

THE END.


	3. Mind Fields

DAWN: The Series  
>1x03 "Mind Fields"<p>

Written By kungfubear

Created By kungfubear & Skinless

Based on characters created by Joss Whedon

TEASER

INT. CAMPUS LIBRARY - MORNING

The campus library has tall ceilings and tall windows. Shafts of the morning sunlight pour in from the long panes of glass. Endless rows of equally tall bookshelves can also be seen, like the world's largest and wisest domino set. Seated at a table by the corner window, we see DAWN, reading.

CLOSE UP ON: DAWN

Reading, her eyes appear heavy, like she could drop off at any moment.

WILLOW  
>(OS)<br>Don't fall asleep on me now.

Dawn, on the verge of passing out, perks up and looks at WILLOW, standing next to her.

DAWN  
>(dazed)<br>Huh?

WILLOW  
>We've only just started. There's still a long way to go.<p>

Willow sets a heavy stack of books down on the table. She's obviously enthused. Dawn, not so much.

DAWN  
>I don't know how much use I'll be. I cracked open this book on Poe about half an hour ago, and I haven't moved past this one sentence the whole time. Ugh, my brain is fried.<p>

WILLOW  
>Too much information?<p>

DAWN  
>Not enough, actually. I'm still thinking about last weekend. The Brotherhood, stripping waitresses, vampire bunny-men who go poof. I can't make sense of any of it.<p>

WILLOW  
>I told you sweetie, we're looking into it. I even called Giles. I promise, he's cleaning his glasses enough for the both of us, so don't worry. Just wrap yourself up in your schoolwork. It works for me.<p>

DAWN  
>I'm trying, but nothing sticks.<p>

WILLOW  
>I'll go get us some drinks. Maybe something with a dangerous amount of caffeine will perk you up.<p>

DAWN  
>Thanks.<p>

Willow exits frame, in search of drinks. Dawn continues to burn a hole in her book. Finally, with a frustrated sigh, she gives up and moves on to the next book on top of the pile. Setting it down in front of her, she opens it to a random spot, only to find the pages are blank. Confused, she flips through the numerous pages. Not a single letter or image can be found.

Dawn's getting worried. She gets up from her seat and begins scanning as many books as she can as fast as she can. They all come up empty. Blank page after blank page until she reaches the last book at the bottom. Dawn opens the book just in time to see the text crawling off the page and onto the table. The moving letters runoff the edge and pour onto the floor, like an alphabet waterfall.

Cautious, Dawn takes a step back. She looks around and notices she is alone. The puddle of text on the ground begins to flow across the floor in a serpentine fashion.

ANGLE ON: BACK WALL

Dawn slowly follows the river of words until she reaches a dead end, a vast, white wall at the other end of the library. Running up the wall is a single, hairline crack. The river of words disappear into the fractured space. Dawn moves closer and tries to peer into the crack in the wall.

GILES  
>(OS)<br>Excuse me, Miss?

Dawn turns around to see GILES. He's dressed in his classic, tweed suit and wire frame glasses.

GILES (CONT'D)  
>Can I help you?<p>

DAWN  
>Giles! What are you doing here?<p>

GILES  
>I'm the school's librarian. Are you lost?<p>

DAWN  
>What? When did you start working here, and why didn't you tell me?<p>

GILES  
>(confused)<br>I'm sorry, have we met before? I'm afraid I don't know you.

CLOSE UP ON: DAWN

We PUSH IN on Dawn's wide-eyed expression as we...

BLACK OUT.

END OF TEASER

CUE MUSIC AND OPENING: "Tomorrow" by SR-71

ACT ONE

INT. CAMPUS LIBRARY - MOMENTS LATER

Dawn and Giles are at the back of the library. Giles is shelving some books.

DAWN  
>Giles! It's me, Dawn. Have you been sniffing glue?<p>

GILES  
>(offended)<br>I beg your pardon? Listen, um, Dawn, is it? Unless you're looking for a book of some sort, I can't help you.

DAWN  
>This isn't funny, Giles. Where's Buffy?<p>

GILES  
>(perks up)<br>Oh, you and Buffy know each other?

DAWN  
>She's only my big sister.<p>

Giles takes off his glasses and gives Dawn a look.

GILES  
>Perhaps you're looking for-<p>

DAWN  
>Some other girl with that name who lives around here? Seriously Giles, how many other girls named Buffy have you ever met?<p>

GILES  
>I see your point.<p>

Dawn gets an idea. She digs into her back pocket and hands Giles her ID card.  
>GILES (CONT'D)<p>

(squinting)  
>This makes no sense.<p>

DAWN  
>(triumphant)<br>See, I told you.

GILES  
>No, I mean I can't read this.<p>

He hands it back to Dawn.

ANGLE ON: ID CARD

Looking at the card, we see Dawn's picture, but the words and information are a jumbled mess of incohesive letters, numbers and symbols. Suddenly, the text begins to slide down the card and onto the floor. Like before, this alphabet pool snakes its way along the ground and into the crack in the wall.

DAWN  
>(pointing)<br>Giles, look! The same thing happened a minute ago when I was studying.

ANGLE ON: CORNER TABLE

Giles and Dawn enter the frame. Dawn sits down and begins leafing through her stack of books, showing Giles the empty pages.

DAWN (CONT'D)  
>I was over here studying, then all the words started coming off and going over there, into that wall.<p>

GILES  
>Please, slow down. This is too much information. I'm still trying to...Buffy is your sister? Buffy Summers?<p>

DAWN  
>Giles, for some reason you've gone all Leonard Shelby on me, but we need to deal with this first. I've just gotta retrace my steps. Okay, I was sitting here, trying to study this stupid book on Poe, then Willow-<p>

GILES  
>Willow?<p>

DAWN  
>Please tell me you at least remember her. Short and cheerful with red hair. Likes to practice magic and sleep with girls. Ring any bells?<p>

GILES  
>Yes, yes. I know who Willow is. You said she was here, a moment ago?<p>

DAWN  
>Yeah, she came over with a bunch of books and said she was gonna get us some drinks and-<p>

Dawn stands up and walks past Giles.

GILES  
>What is it? Where are you going?<p>

She then breaks into a sprint, running towards the main doors.

DAWN  
>I have to find Willow!<p>

Dawn exits the library.

SMASH CUT TO:

INT. BEDROOM - DAY

We're in one of the upstairs bedrooms of the Summers' home, in Sunnydale. The room is bare, except for a single bed. There are no sheets. The bed has not been made. The double doors to the closet burst open. Dawn falls out, hitting the floor. She sits up and looks around the room.  
>Before she can fully register her surroundings, Dawn is distracted by an off screen noise. It's coming from downstairs. She gets up and walks out of the bedroom.<p>

INT. LIVING ROOM - DAY

ANGLE ON: STAIRS

We PULL BACK as Dawn comes down the stairs, into the living room. The living room is packed with people. They appear to be STAGEHANDS. Some of them are moving furniture, while others are setting up boom microphones and stage lights.

GLORY  
>(OS)<br>Hey, you! You're in the way!

We WIDEN OUT to reveal that Dawn is indeed standing in the middle of a set. The wall where the television should be is gone. GLORY walks up onto the stage and grabsDawn by the arm. She drags Dawn along with her off the set and over near some film cameras. Glory is dressed in a woman's business suit. She has a bullhorn, but doesn't use it. Dawn is in wide eyed shock.

GLORY (CONT'D)  
>You're ruining the show. Who said you were allowed on set? Did the director authorize this?<br>(calling out)  
>Ben!<p>

BEN enters and stands next to Glory. He's dressed just as she is, but his is a man's suit.

BEN  
>You rang?<p>

GLORY  
>Is this one of your cattle?<p>

Ben strokes his chin and squints at Dawn.

BEN  
>Hmm, I don't think so, but I'm beginning to wish she was. She's got a certain something.<p>

GLORY  
>The only thing she's got, is my last nerve.<br>(to Dawn, smiling)  
>What's your name, sweetie?<p>

DAWN  
>Uh, D-Dawn Summers.<p>

Glory's fake, plastic grin slowly fades into a frown.

GLORY  
>Dawn Summers? I didn't ask for your character's name, dear. I want to know who you are.<p>

BEN  
>Maybe the writers are playing a prank.<p>

GLORY  
>Again? I swear, I'm surrounded by geeks and children.<br>(calling out)  
>Writers!<p>

WARREN, JONATHAN and ANDREW walk up.

WARREN  
>You wanted to see us?<p>

GLORY  
>Please, you're writers. I never want to see you.<p>

DAWN  
>I don't understand. What's going on?<p>

GLORY  
>Don't tell me you've forgotten your place in this, already.<br>(to the writers)  
>Did either one of you cretins write this child into the script without asking me first?<p>

The three geeks look at each other in confusion.

ANDREW  
>No, but what if we put her in at the end of the episode or something?<p>

WARREN  
>Yeah, yeah we could, as a new character.<p>

GLORY  
>You half-wit, we've got more than enough characters as it is. There's no room to fit her into the story.<p>

JONATHAN  
>(excited)<br>Oh, I know! We can make her someone's sister. She's always been around, we just don't notice her until now. We can figure out why later on.

GLORY  
>That's ridiculous! Our audience will lynch mob us. I'm not going through that again, not after the whole gay thing. It'll never work.<br>(points to Jonathan)  
>You're fired.<br>(points to Andrew)  
>You! Kill that one.<p>

JONATHAN  
>What?<p>

Andrew pulls a knife on Jonathan. He stabs him in the gut, while moving the two of them out of the right side of the frame.

GLORY  
>(to Ben)<br>Go away. I'll call for you if I need you again.

Ben quietly slinks away.

GLORY (CONT'D)  
>Security!<p>

RILEY enters from the other side of the frame, dressed in a Security Guard's uniform.

RILEY  
>Is there a problem?<p>

GLORY  
>Escort this little girl outside. We're about to start shooting.<p>

RILEY  
>(to Glory)<br>Yes, Sir.  
>(to Dawn)<br>Right this way, kid.

Riley grabs Dawn by the arm and escorts her out of the frame. Glory calls out after them.

GLORY  
>(to Riley)<br>And make sure she doesn't steal anything!

CUT TO:

EXT. SOUNDSTAGE - DAY

The door opens. Riley shoves Dawn outside and slams the door shut behind her, leaving her by herself. She immediately turns around and tries to go back inside. The door is locked.

SPIKE  
>(OS)<br>You can't go back there.

Dawn turns around to see Spike, out in the middle of the day!

SPIKE (CONT'D)  
>None of us can.<p>

DAWN  
>Spike?<p>

SPIKE  
>(smiling)<br>Hello, Dawn.

BLACK OUT.

ACT TWO

EXT. SOUNDSTAGE - DAY

Dawn and Spike are outside the soundstage. They're surrounded by perfectly formed, untouched sand dunes, stretching out over the horizon and into infinity. The soundstage appears to be the only construction for miles.

DAWN  
>Spike, what are you doing here, in the daylight? In fact, where is here? Where are we?<p>

SPIKE  
>Too many questions, and not the right ones. I know what you know.<p>

DAWN  
>But I don't understand any of this. None of it makes sense.<p>

SPIKE  
>Of course it does, you just ain't lookin' hard enough.<p>

Spike walks past Dawn. The tail of his leather coat drags across the sand behind him. It moves fluidly over the ground, like a train of shadows, slowly catching up with him.

SPIKE (CONT'D)  
>It's bugger all to do with surface. You've gotta go deeper.<p>

Dawn follows Spike around the corner of the soundstage. Once they get past that back wall, it's revealed to be just that, a back wall. It's being held up by support beams, like the kind of facade one might find in a high grade stage production. It's about this point that Dawn notices nothing casts a shadow here.

DAWN  
>Deeper how? Is this one of your crappy poems I don't get?<p>

SPIKE  
>It's all just skin, little bit.<p>

Spike looks out towards the horizon, like he's waiting for something.

SPIKE (CONT'D)  
>Trouble is, skin sheds. It all gets peeled back, eventually. Everything is open and raw, unsafe and uncertain.<p>

Dawn walks a few yards ahead of where Spike is standing. She looks at the horizon and tries to see something that isn't there. Frustrated, she turns back to face Spike.

DAWN  
>I don't have time for riddles, Spike.<p>

SPIKE  
>That's the problem, isn't it? Time, space, skin. All relative, really. It's not what's important. Still didn't stop them, did it? It never does. They tried to contain it, give it skin, give it a name.<br>(beat)  
>Not long now.<p>

DAWN  
>Not long for what?!<p>

SPIKE  
>All of it! You, big Sis, me- Well, not so much me. Point is, without a reason, without a purpose the whole bloody thing goes back to the way it was. If it gets in, then the light dies.<p>

Starting at the base of the back wall, a shadow slowly begins to form on the ground, stretching out longer and longer, like the effects of a sun dial. The shadow casts itself over Spike. His skin begins rotting away and drying out, like he's being dusted in super slow motion.

SPIKE (CONT'D)  
>Don't let The Darkness in, Dawn.<p>

With that, Spike's entire being turns to ashes, blowing away in the breeze. The shadows push forward. Dawn sees it getting closer and takes off in a sprint, trying to outrun it. The Darkness is gaining momentum. Dawn tries to run faster, but it's just at her heels.

The sand is building towards an incline, causing Dawn to struggle uphill. When she reaches the peak, her feet begin sinking into the ground. She tries to break free of the quicksand, but it's no use. Before The Darkness can reach her, Dawn is buried underground. Sand fills her lungs when she opens her mouth to scream for help.

CUT TO:

INT./EXT. HOURGLASS - NIGHT

Dawn falls through the sand and lands in the middle of a circled platform. She sits up as sand continues to trickle down from above. Taking in her surroundings, Dawnrealizes she's trapped inside a giant hourglass. It's too dark to see outside the glass. Meanwhile, sand is piling up around her feet. The more sand that fills the bottom, the higher Dawn is pushed up into the top of the hourglass.

DAWN  
>Looks like nowhere left to go but up.<p>

Once the sand in the hourglass has completed its cycle, Dawn is able to stand up and push the lid open. She climbs out of the hourglass and finds a ladder. After climbing down to the floor, Dawn takes a few cautious steps forward.

DAWN (CONT'D)  
>Hello?! Anybody?! Preferably someone friendly?!<p>

Dawn is about to continue walking, when a giant, glowing green eye opens right in front of her! Startled, Dawn stumbles back and falls on her butt. She looks up and sees that there are two green eyes staring at her. The glowing eyes fill the room with much needed light. Dawn takes a step back and sees that the eyes are not human, but feline. She is face to face with a monstrously large, MISS KITTY FANTASTICO.

DAWN (CONT'D)  
>Hello, Kitty.<p>

The massive kitten is laying on her side, like a beached whale. Dawn slowly gets to her feet and takes a moment to appreciate Miss Kitty's overwhelming size, while the cat cautiously looks on.

Dawn spots something embedded into Miss Kitty's right, front foot. Upon closer inspection, she realizes it's an arrow, proportionate to Dawn, but more like a splinter when compared to the huge cat. Dawn reaches out and gingerly pulls the arrow from Miss Kitty's paw. The wound closes up on its own, leaving no signs of injury.

DAWN (CONT'D)  
>There. Good as new.<p>

Miss Kitty Fantastico gets up and lowers her head to the ground, looking very much as if she were bowing down before Dawn, praying to her. The enormous kitten begins purring at Dawn, which has a lot more bass to it than usual, given the cat's size. Dawn steps up onto the previously wounded paw and begins to hike up onto the cat's back. Miss Kitty steadies herself before walking down the dark corridor, carrying Dawn on her back the way an elephant would a circus performer.

INT. CORRIDOR - NIGHT

The glow from Miss Kitty's eyes are lighting the way ahead much like the headlights on a car, or in this case, a diesel truck. Up against the walls on either side, Dawn sees a row of beautifully crafted artworks, in various mediums. They appear to be representations of the different Slayers throughout the generations.

ANGLE ON: THE FIRST SLAYER

A textured cave painting of the Primitive. The First Slayer, dressed in tattered shrouds and bandages. Her stance is ever alert, a constant battle pose. Her muscles are lean and tight in a way that's foreign even to other Slayers. Everything about her is hard and callous. Her skin is deeply toasted and decorated with many scars. Her bare feet are digging into the desert sand. Her eyes seem to coldly stare back at Dawn, as if burning into her very soul. One hand wields a knife of sorts, apparently made entirely of the rib bone from some unknown animal, now long gone from this world. The other hand chokes on a long, twisted tree branch, with no leaves to speak of and the ends sharpened into fine, splintered spikes.

ANGLE ON: PEASANT SLAYER

An inked drawing on a large, open scroll of a young woman with long, flowing hair, golden like the sun. Fair skin and youthful features, but with big, woeful eyes. She wears a layered, white dress splattered with blood and carries an intimidating broadsword. A raging wall of fire threatens behind her.

ANGLE ON: PARISIAN SLAYER

A framed, canvas painting of a raven-haired French woman, in a burgundy dress and torn stockings. Tears stream down her face as the blood of the innocent dries on her hands. The Rue St. Denis, at the height of The French Revolution can be seen in the background.

ANGLE ON: VICTORIAN SLAYER

A chiseled, marble statue of a woman, but dressed to look like a man. She stands with a very regal posture. Short, cropped hair and mild, masculine features. Long trousers and a coat with tails completes the deception.

ANGLE ON: CHINESE SLAYER

Another canvas painting, but this one is not framed. It depicts a graceful Chinese girl, from the Boxer Rebellion. She is dressed in fine silks and sits on the floor, in deep meditation. An arsenal of blades and stakes are displayed before her.

ANGLE ON: NATIVE AMERICAN SLAYER

An old, sepia-toned photograph, probably one of the first of its kind. A young girl of Navajo bloodline sits atop a horse. A bow in her hand and a sling of arrows over her shoulder, she wears a dusty hat and poncho.

ANGLE ON: GERMAN SLAYER

A cleaner, black and white photograph. A little German girl of maybe fourteen years old, her hair in braids. She stands outside a bakery, surrounded by a small, Jewish family. Together, all smiles, they set fire to a banner displaying the Nazi Swastika symbol.

ANGLE ON: NIKKI WOOD

This is more or less a blown up rendering of the cover to some dime store pulp novel. A tall, 1970's funk-style, African American woman is perched atop a high rise rooftop. The New York skyline is lit up by the bustling nightlife in the background. Dawn does a double take at the familiar, leather coat The Slayer is wearing.

Miss Kitty Fantastico finally stops walking, arriving at a dead end. However, close to the wall, there is a door built into the ceiling. Dawn stands up and glares at the door.

DAWN  
>Okay, how the hell am I supposed to get up there?<p>

Suddenly, the door opens like the hatch to an attic. A ladder is lowered right in front of Dawn.

DAWN (CONT'D)  
>That'll do.<p>

Dawn begins to climb up the ladder and through the hole in the ceiling.

INT. UPPER LEVEL - NIGHT

Dawn emerges into the upper level. It's mostly cloaked in darkness. There is some light, coming up from the hole in the floor. Slowly, Dawn's eyes begin to adjust to the new surroundings, allowing her, and us, to see the interior of the room.

ANGLE ON: CHARLOTTE "CHARLIE" WATTS

A poster, the edges frayed, promoting a goth/industrial rock band called Anima. The foreground image depicts the slender, curvaceous figure of Charlie Watts. A long, black dress hugs tight against her body. An electric guitar is slung over her shoulder. Black mascara brings out her hypnotic, crystal blue eyes. It looks to be the only makeup she has on, not that she needs any. Her features are almost angelic, and she seems to have one of those naturally friendly faces. Her short, black feathered hairstyle further gives away that she was obviously a Slayer during the mid to late Eighties. (Don't bother looking for her in any of the Slayer-based comics and novels. She's my own creation)

ANGLE ON: BUFFY SUMMERS

On the wall across from Charlie's poster, we see a blown up, high definition, high resolution photograph of Buffy Summers. All contemporary, Southern California style. Hip-hugging blue jeans, white, form-fitting shirt and an expensive leather jacket. Buffy's harvest-gold hair is pulled back into a loose ponytail. Her wooden stake, Mr. Pointy is gripped in her right hand.

Dawn pauses on the image for a moment in warm reflection. She then walks towards the back of the room, where things are completely dark, having moved furthest away from the light source. Dawn stops in her tracks when a part of the floor lights up beneath her foot. This triggers the lighting up of a circle on the floor, close to the back wall.

ANGLE ON: MELAKA FRAY

The room fills with light as a HOLOGRAM image materializes. We see a Slayer from a high-tech, science fiction future time. Her look and style is quite foreign, kind of a cyberpunk feel. She carries in her hands the Slayer's Scythe. (Anyone reading this who hasn't read FRAY, what's wrong with you? It's written by Joss Whedon! Go get it now!)

Dawn squints at the image and notices the Scythe has a more solid quality to it than everything else. She reaches out to grab it and realizes that it is in fact real and tangible. She pulls it from the hologram and holds it firmly in her hands. Suddenly, all of the lights go out, once again leaving Dawn in total darkness.

CUT TO:

INT. MAGIC BOX - NIGHT

The lights come back on after a moment, revealing Dawn to be in a completely different location. More specifically, she's in the destroyed Magic Box from years ago, after Dark Willow's rampage. Dawn still has the Scythe in her hands. Behind her, a SWEEPING noise can be heard. Dawn spins around, ready for danger. Instead, she finds XANDER. He still has both his eyes. He's dressed in a custodial uniform and holding a broom. He looks up and spots Dawn.

XANDER  
>Hi. Can I help you?<p>

BLACK OUT.

ACT THREE

INT. MAGIC BOX - NIGHT

Dawn and Xander are facing each other, surrounded by the ruins of The Magic Box.

DAWN  
>I'm guessing you're not Xander.<p>

XANDER  
>Well, I am, but also not.<p>

DAWN  
>Is it wrong that I sort of understood that?<p>

XANDER  
>You're catching on. That's good.<br>(points to scythe)  
>You don't need that here.<p>

Dawn chokes her grip on the scythe.

DAWN  
>Maybe I like having it. Makes me feel safe, like a big, sharp and heavy teddy bear. Where exactly is "here"?<p>

Xander gestures to the debris around them.

XANDER  
>Can't you tell?<p>

DAWN  
>I've got a pair of jeans that say Donna Karen on them, but that doesn't mean they are.<p>

XANDER  
>Good point. Follow me.<p>

Xander tosses his broom aside, turns and heads to the back of the shop. Reluctantly, Dawn follows.

XANDER (CONT'D)  
>You see Dawn, all of this has more to do with who or what you are, rather than where you are.<p>

We TRACK behind the two of them as they go through a door at the back of the shop.

INT. INITIATIVE CORRIDOR - CONTINUOUS

They pass through the doorway and are now in a long, narrow hallway. The white, sterile design of this corridor means they are now in one of the many endless halls of The Initiative facility.

XANDER  
>As far as anyone else is concerned, you're Dawn Summers, daughter of Hank and Joyce, sister to Buffy, the Vampire Slayer. That's all well and good on paper, but deep down, you know better. Let's say for example, someone builds a School Library. The first thing they do is fill it full of books. Countless volumes of information and knowledge. Now, it's true that knowledge is power, but it's also true that absolute power corrupts absolutely.<p>

They come to the end of the hallway. Before them sits a metal detector. Just ahead of that, is what appears to be a dead end wall. Xander passes through the metal detector. Dawn follows, but the scythe in her hands sets off the alarm. A loud BUZZING SOUND fills the hall.

XANDER (CONT'D)  
>I told you. You don't need that here.<p>

Dawn steps back and discards the scythe, leaving it on the floor behind her. She proceeds forward and through the metal detector, this time without any problems.

XANDER (CONT'D)  
>See, the thing is, it's just a room where the books live. All that knowledge is actually a lie, an illusion to hide a much deeper truth. Beneath all that man-made concrete and steel, you'll find a dangerous convergence of mystical energy. Of course, me telling you all this isn't going to do a lick of good.<p>

Xander brings his hand up to his face and uses his thumb do dig his left eye from his skull. While there's lots of blood to be had, it doesn't seem to cause him any pain.

XANDER (CONT'D)  
>I have to show you.<p>

A square panel materializes into the wall. It slides open to reveal a retinal scanner. Xander places the bloody eyeball into the scanner. The panel slides back up and disappears into the wall. The wall fades away like an optical illusion. An open doorway is now visible. Dawn cautiously steps through it. She looks back to see a more current version of Xander. This Xander has longer hair and is wearing an eye patch.

XANDER (CONT'D)  
>Whatever happens, don't look away.<p>

Once Dawn is clear of the doorway, the wall fades back into existence, separating her from Xander.

INT. LECTURE HALL - DAY

Dawn finds herself in a Lecture Hall at UC Sunnydale. A white-hot, almost blinding sunlight streams through the windows. The seats are empty. Dawn appears to be the only person in the room. At the front of the classroom, we see an examination table, covered by a white sheet. Dawn cautiously makes her way down to it. She stands before the table, reluctant to touch the sheet.

DAWN  
>(softly)<br>Don't look away.

Pulling back the sheet, we find the BUFFY-BOT laid out on the table, eyes closed. She's dressed in a blue hospital gown. A section of the gown has been removed, exposing her stomach. Suddenly, the eyes open and the Buffy-Bot smiles at Dawn.

BUFFY-BOT  
>Dawn. You're my sister.<p>

DAWN  
>What I am is very confused.<p>

BUFFY-BOT  
>You seek knowledge. I can help you.<p>

DAWN  
>What do I do?<p>

Giles appears behind Dawn.

GILES  
>You must watch.<p>

Dawn steps aside and allows Giles to take her place. She never takes her eyes off the Buffy-Bot. Giles has a scalpel in his hand.

GILES (CONT'D)  
>Your true identity and purpose can finally be revealed to you, but you have to pay attention.<p>

Giles cuts an opening into the Buffy-Bot's stomach. As he does this, the sunlight begins to fade away from the windows, gradually sending everything into almost complete darkness. There is only minimal light available now. Dawn begins to shiver, steam escaping from her mouth. She hugs herself and tries to fight the cold.

DAWN  
>It's freezing cold in here.<p>

Giles digs into the incision with his bare hands. He's almost up to his wrists at this point.

GILES  
>Ah, here we are.<p>

Dawn leans in for a closer look. Slowly, Giles is pulling out a small cube made of wood and steel. Just before we can get a clear look at it...

FLASH CUT TO:

INT. BATHROOM - NIGHT

EXTREME CLOSE UP ON: DAWN'S EYES

Dawn slowly opens her eyes.

CLOSE UP ON: DAWN'S FACE

Dawn appears to be laying down.

DAWN  
>What's happening?<p>

We PULL BACK to reveal Dawn in a bathtub filled with ice. WILLOW and APRYL are standing over her.

APRYL  
>I think her fever finally broke.<p>

BLACK OUT.

ACT FOUR

INT. BATHROOM - NIGHT

Dawn looks up at both Willow and Apryl. She's cold, weak and disoriented.

WILLOW  
>Dawn? Do you know where you are?<p>

DAWN  
>(weak)<br>The North Pole?

A beat.

WILLOW  
>You're in Apryl's bathroom.<p>

APRYL  
>I found you passed out in the library. You were burning up.<p>

WILLOW  
>You had a fever of a hundred and six, that's when we, well, put you on ice.<p>

DAWN  
>Willow?<p>

WILLOW  
>Yeah sweetie, I'm here.<p>

DAWN  
>Can I have something to drink?<p>

Willow smiles.

WILLOW  
>One beverage comin' up.<p>

We PULL BACK all the way out of the bathroom, and over to a pile of books on a desk. Dawn's backpack is seated in the chair in front of the desk. One of her books is open to a seemingly random page. It's the book on Edgar Allan Poe we saw at the top of the episode. We PUSH IN on a passage that has been highlighted. It reads: "Is all that we see or seem just a dream within a dream?"

DISSOLVE TO:

INT. DAWN'S BEDROOM - NIGHT

Dawn is now resting in her bed. We PULL BACK to reveal Willow, peeking in from the hallway.

INT. UPSTAIRS HALLWAY - CONTINUOUS

Willow closes the door and turns to BARRET, who is standing by the top of the stairs.

BARRET  
>How's she doing?<p>

WILLOW  
>Much better, I think. She's resting. I've never known anyone to get that sick before.<p>

BARRET  
>I did, once. It happens sometimes at college. So many people crammed together in dorm rooms and class rooms. Germs are flyin' all over the place. Most folks are bound to pick up something. My freshman year, I got a real nasty cold, stayed with me two whole weeks.<p>

WILLOW  
>Really?<p>

BARRET  
>Yeah. I used that down time to read some King. Word of advice, don't pick up The Stand while you're sick. Never got a fever that high, though.<p>

WILLOW  
>She was delirious. Kept mumbling all sorts of things.<p>

BARRET  
>Didn't you say her sister used to have prophetic dreams?<p>

WILLOW  
>Sometimes. You think Dawn was dreaming?<p>

BARRET  
>It's possible. Did you make any of it out?<p>

WILLOW  
>Mostly, no. It was too fragmented. I may ask her about it after she gets better, if she actually remembers anything.<p>

DISSOLVE TO:

INT. KITCHEN - NIGHT

We see Barret, shutting off lights as he exits the kitchen.

INT. LIVING ROOM - CONTINUOUS

Barret is shutting off lights in the living room now. He casually makes his way to the sliding glass door at the back end of the house.

EXT. BACKYARD - CONTINUOUS

Barret emerges from the house, into the backyard. He walks across the grass, making his way to a tool shed that's behind a tall tree. It's the only tree in the yard. The door is locked. Barret fiddles with the lock, entering in a combination and unlocking it. He opens the door and heads inside.

INT. TOOL SHED - CONTINUOUS

There's nothing inside the shed. It's just a facade. In the ground, surrounded by dirt, we see a plain, metal hatch.

INT. FALLOUT SHELTER - CONTINUOUS

The hatch opens. Barret climbs down a ladder that leads into what appears to be an old Fallout Shelter. He turns on the lights, revealing a storage space filled with dozens of ancient artifacts and weapons. A desk is in the corner, next to a wall of shelves. On the desk is a package. Barret walks to the desk and opens the package.

MEDIUM CLOSE UP ON: BARRET

Barret brings the contents of his package into frame. It's a small box made of wood and steel. It's the same box from Dawn's dream. It's about the size of a milk crate. Barret kneels down out of frame. Standing a few feet behind him, we see the spirit of Dawn's mother, JOYCE SUMMERS.  
>Barret puts the mysterious box on the bottom shelf and stands back up. He turns around to face Joyce, not at all startled to find her there. He looks at her for a beat.<p>

BARRET  
>(concerned)<br>We need to talk.

BLACK OUT.

EXECUTIVE PRODUCERS  
>skinless<br>kungfubear

THE END.


End file.
